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A 




THE 


A R T-U N I O N. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. Slc. &c. 



EXHIBITIONS 
FOREIGN ART 
PUB L ICAT ION S 
PROGRESS OF ART 
&.C. &c. &c. 


A MONTHLY JOURNAL OF FINE ARTS. 


VOLUME IV. 

FOR THE YEAR ENDING DECEMBER 1842 . 


LONDON: 


PUBLISHED AT THE 

“ART-UNION OFFICE,” BY J. HOW, BOOKSELLER, 132, FLEET STREET; 

AND SOLD BY ALL BOOKSELLERS AND NEWS-AGENTS THROUGHOUT THE KINGDOM. 


PALMER AND CLAYTON,] 


MDCCCXLII. 


[CRANE-COURT, FLEET-STREET. 


Digitized by Lr.OOQle 



Digitized by 


Google 


INDEX. 


> 


Aoademt, Royal. 13, 31, 60, 106, 119 to 129, 
139, 140, 160, 184, 257, 283. 

Aoraman’s Pictures, sale of, 241. 

Adelaide Gallery, Exhibition at, 186. 
Afghanistan, Sketches of, 106. 

Amateur, a new French Periodical, 187. 
Ancient Buildings, Symbols on, 32. 

Pictures misplaced, 12. 

Architects, Institute of British, 31. 
Architectural Decorations, Painting applied to, 
82, 83. 

Menu., 80. 

Models, 106. 


Architecture around the Bank of England, 231. 

■ ■ at King's College, 84. 

Recent, 11, 12, 30. 

■ the Study of, 258. 

Arguil, Count, Sale of his Pictures, 61. 
Armour, Sales of, 187. 

Arnold, George, Obituary of, 14. ^ ^ 

Art, applied to Manufacture, 23,24, 25, 43, 44, 
45, 79, 80, 107, 108. 

— — in America, Washington, 9. 

British, National Commission on, 3, 4, 271. 

in the Continental States, Africa, America, 

Ac., viz. — 

America New York, 237. 

■ ■ Washington, 9. 

Africa Algiers, 163. 

Bavaria Munich, 45, 100, 216, 

237. 

Belgium Brussels, 9, 

Bohemia Prague, 78. 

Denmark Copenhagen, 266. 

France Paris, 9, 29, 30, 45,78, 80, 

99, 104, 137, 162, 179, 215, 236, 255, 278. 

Lyons, 45. 

Avignon, 100. 

■ ■ Versailles, 137. 

Marseilles, 137. 

Germany Stutgard, 30. 

Hamburgh, 45. 

— Vienna, 78, 216. 

Leipsic, 266, 278. 

Strasburg, 279. 

Salzburg, 266. 

Frankfort, 237, 256. 

Greece 78, 163. 

Italy Rome, 9, 45, 78, 137,1 79. 

Bologna, 9, 29, 78, 179, 


215, 236, 278. 


• Florence, 9, 29, 78, 80, 


99, 104. 


Naples, 137, 215, 255. 

■ ■ — ■ - ■ Turin, 78. 162. 

Venice, 78, 162, 255. 

Milan, 78. 

Polane Warsaw, 45, 256. 

Prussia Berlin, 9, 45, 78, 163, 


179. 256. 


— Cologne, 78, 100, 163. 

Russia St. Petersburgh, 45, 

100, 163, 180, 237. 

Smolensk, 45. 

Saxony Dresden, 78. 

Spain Madrid, 29. 

Switzbelano, lOO.Genevi, 163. 

Turkey Constantinople, 78. 

— - in the Provinces, (viz.) Birmincham, 16, 
182, 214, 215, 234. — Belfast, 2367— Bristol, 
85.— Dublin, 16, 85, 111, 140, 158, 181, 216, 


236. — Edinburgh, 16, 30, 259. — Exeter, 259. 
— Glasgow, 182, 259. — Liverpool, 30, 85, 
182. 216, 222,223,232,233, 234, 257.— Man- 
chester, 16, 216. — Newcastle, 16. — Norwich, 
111, 236.— Plymouth, 16, 182, 236, 259.— 
Scotland, 16, 30, 45, 46, 82, 86, 98, 166, 
168. 182, 259. — Sheffield, 259. — Taunton, 259. 
— Westmoreland, 182. — York, 236. 

History of, 73, 74, 75. 

— Rhymes on, by S. C. Hall, 238. 

— School of, 240. 


Art, Utility of, 89. 

Works of, purchased by Louis ’Philippe, 9. 

and Artists’ Societies, and objects in con- 
nexion with, viz. 

Amateur Artists' Society, 31. 

Artists' and Amateurs' Conversazione, 7, 31,165. 
— - — Anatomical Lectures for, 32. 

Benevolent Fund, 105, 140, 281. 

— Foreign, 282. 

(General) Benevolent Fund, 140, 185. 

British Institution of, 31, 57 to 60, 75, 

76, 77. 84, 105, 150. 

British Society of, 7, 85, 103, 104, 240. 

(New) do., 102, 103. 

Painters’ Etchings, 82, 105. 

— — Painters in Water Colours, 85, 100, 101. 

■ ■ Rendezvous, 140. 

■ School of Design, 82. 

Tour, 134, 135, 178. 

Complaint, 99. 

Eyes, 82. 

Graphic Society, 7. 

■ Water Colours, Society of Painters is, 

13. 100,101. 

, — New Society of, 14, 60, 

102, 103. 

— > Society for producing fine Engravings, 

169. 

— Art-Unions of London, is the Provinces, 

in the Continental States, &c., see various 
heads of 

Art-Union of London, 3, 10, 46, 47, 60, 82, 99, 
109, 110, 111, 141, 142, 168, 181, 213,240, 
243, 262. 284. 

Arts, Useful, on the influence and effects of 
taste in, 14. 

Art-Unions of Germany, 142, 240. 

Ball (Masqued), her Majesty’s, 140, 185. 
Barnard’s Tour in Switzerland, 106. 

Barrett, the late George, 99, 140. 

Barry, Charles, Esq., elected Member of the 
Royal Academy, 60. 

Bielefeld’s Papier Mache, 61. 

Boccius Light, 284. 

Book of British Ballads, Illustration of, 223. 
Bouchop, Obituary of, 48. 

British Institution, 31, 57, 58,59, 60, 75, 76, 77, 
84, 105, 140, 159, 283. 

Bullock. William, Esq., Sale of his Pictures, 32. 
Burford’s Panorama of Cabool, 166. 

Waterloo, 84. 

Burnss Highland Mary, Monument to, 30. 
Byron’s, Lord, Statue, 190. 

Carving In Bog Oak, 186. 

(Leather Imitations of), 84, 212. 

Castles and Abbeys of England, 269. 

Chantrey (Sir Francis), Genius of, 13; Obituary 
of, 5, 6; Will of, 27, 28, 29. 

Chinese Collection, Exhibition of, 282. 

City Medals, 89. 

Clarke, George, Obituary of, 84. 

Clay for Modelling, 184. 

Collingwood, Lord, Statue of, 106. 

Cologne Cathedral, 165, 266. 

Colours, Contrast of, 238. 

Composition Seals, 105. 

Constable, John, Memoir of, 185. 

Copyright, 95, 96, 97. 

Cornelius on Frescoes, 105, 135, 136, 202, 203. 
Correspondence, 12, 17, 33, 46, 47, 65, 86, 89, 
98, 112, 142,167. 188, 189, 194, 218, 237, 
238, 243. 262, 265, 314, 281, 288. 

Costume (British), Fairholt’s Notes on, 223 to 
229, 247 to 253. 

Crawford (Mr. William) Hogan’s, Statue of, 86. 
Crome’s Verses on Innes's Picture, 47. 

Daguerreotype Portraits, 84. 

Dannecker, M., Obituary of, 48. 

Decorations of the Houses of Parliament, 81, 
82, 105, 15G, 189. 


Denis (M. de. St.), Sale of his Pictures, 84. 
Donaldson, F. L., elected Professor of Archi- 
tecture to the London University, 13. 

Drawing Models for Teaching Perspective, 86. 
Dulwich Gallery, Admission to, 212. 

Collection of Pictures, 166. 

Easel (New), 212. 

Electrotint, Process of, 83, 193. 

Encaustic Painting, 151 to 154. 

Encouragement of Art, 188. 

Engravings, Society for Producing, 169. 

Etching Society, 60. 

Exchange (the New Royal), 32, 61. 

Exhibition at the Louvre, 9. 

Rooms, Plan for Extending, 7, 8. 

Exhibitions at the Royal Academy, 119 to 129, 
160 to 162. 

— British Institution, 57 to 60, 

75, 76, 77. 

of Society of British Artists, 85, 

103, 104. 

of the Painters in Water-Colours, 

100 , 101 . 

New, ditto, 102, 103. 

of Wilkie’s Pictures, 159. 

Chinese Collection, 282. 

Fairholt’s Notes on British Costume, 223 to 229, 
247 to 253. 

■ ■ - ■ Artist's Tour, 178, 179. 

Fine Arts, Royal Commission on, 81, 82, 104, 
105, 138, 184, 199 to 211, 240, 257. 

Fearnley, Thomas, Obituary of, 239. 

Foreign Sales of Drawings and Engravings, 187. 
Fresoo Studies, 13, 287. 

Frescoes, Cornelius’s, 105, 135, 136, 202, 203. 

De la Roche’s, 9. 

Herbert’s, 14. 

Oils for, 26, 27. 

— Paintings, Ancient and Modern, 39-43. 

Fry, Herbert, Obituary of, 48. 

Gems, the Poniatowski, 13, 47, 48, 82. 

German Art- Unions, 240. 

Compliments to British Art, 263, 264, 

279 to 281. 

Germany, on Art in, 112. 

George the Fourth, Statue of, 187. 

Gilmore’s (Allan, Esq.), Sale of Pictures, 32, 141. 
Greenwich Hospital, Opening of the Painted 
Hall, 186. 

Grounds (Ancient) for Oil Pictures, 154 to 156, 
229, 230, 253, 254, 255. 

Hampton Court Palace, 82. 

Hayter's Picture of Her Majesty’s Marriage, 106. 

the Christening of the Prince 

of Wales, 14. 

Hawkins’s Drawing Models, 182. 

Herbert’s Frescoes (for St George’s Catholic 
Chapel), 14. 

Hereford Cathedral, Restoration of, 48. 

Hogan’s Statue of Mr. Crawford, 86. 

Houses of Parliament, Decorations for, 81, 82, 
105, 156, 189. 

Howard’s Lectures on Painting. 60. 
Hullmandeil’s Lithotint, Medal for, 31, 284. 

Innes’s Picture, Crone's Verses on, 47. 

Ireland, Fine Arts in, 284. 

Islington Art-Union, 84. 

King’s College, Architecture at, 84., 

Knighthood (the), Additions to, 165. 

L’Amateur, a new French Periodical 187. 

La Zingara, 83. 

Line Engraving, 89. ~~ ; 

Lithographic Art- Union, 99. ! - 

Lithotint in Chancery, 105, 106. C 
Louvre, Exhibition at the, 81, 1Q4L < 

j by VjOOQ 1€ — v V r— ( . 



Le Brun, Madame, Obituary of, 99. 

Leipm&un’s Printing in Oils, 285. 

Manufactures, Art applied to, 23, 24, 25, 43, 44, 
45, 79, 80, 107, 108. 

Masqued Ball, Her Majesty’s, 140, 185. 

Medals, Biennial Distribution of, at the Royal 
Academy, 13. 

Menzies (the Musician), Portraits of, 257, 258. 
Metallurgy as a Fine Art, 237. 

Metropolitan Improvements, 48, 82, 140, 163. 
Mexico, Assassination in, 187. 

Miniatures in Marble, 166. 

Models for Drawing, 86, 99, 182, 184, 258. 

Napoleon’s Monument, 9. 

Montgomery, James, Portraits of, 30. 
Monuments, Public, Opening of, 186. 

Murillo, Figures by, 186. 

National Coll, 271 to 276. 

Art-Union, 257. 

Napoleon’s Monument, Models for, 9. 

Nash’s Drawings, 83. 

National Monuments and Works of Art, 175-8. 
Gallery, 165. 

Cartoon of Raffaelle, removed to, 187. 

Commission on British Art, 3. 

Nielles’s Pictures, Sale of, 61. 

Nelson Monument, 165. 

OBITUARY, Chantrey, the late Sir Francis, 5, 6. 
Arnold, Mr. George, 14. Dannecker, M., 
48. Bouchop, M., 48. Fry, Herbert, 48. 
Clark, George, 84. Theakston, George, 99. 
Barrett, George, 99. Lebrun, Mde., 99. 
Fearnley, Thos., 239. Sommerard, M. de, 
256. Davignon, M. de, 256. Flandrin, M. 
A., 256. Eagan, James, 256. Soyer, Mrs., 
256. Bromley, Wm.,278. Finlay, K., Esq., 
278. Harris, J., Esq., 278. Crome, J., Esq., 
278. Cunningham, Allan, 277. 

O’Connor, J. A., Sale of his Pictures, 61. 

Oils for Frescoes, 26, 27. 

Old Painters, 189. 

Old Picture Sales, 263. 

Older (the) Masters, 263. 

Copies of, 283: 

Painters’ Etching Society, 82, 105. 

Home, a Poem (altered from some 

lines by A. Nicholl), by S. C. Hall, 16. 
Painting and Sculpture, 1 76. 

Parliament Houses, Decoration of, 156. 
Partridge, Mr., Painter to Her Majesty, 187. 
Photographic Portraiture, 186. 

Pictorial Imitation, 71, 72, 73. 

Picture Frames, 257. 

Pictures, Sales of, 32, 61, 140, 166, 241, 243. 

Number imported, 240. 

Pooloo Cement, 32. 

Poniatowski Gems, 13, 47, 48, 82. 

Portrait Painters, Miseries and Inconveniences 
of, 180. 

Public Works in Progress, 165. 

Pyrenees, Scenery of the, 112. 

RadclifTs Patent Inkstand, 32. 

Raffaelle and his Father, 190, 191. 

Raffaelle’s Drawings, 165. 

Birthday, 12. 

Reynolds, Sir Joshua, Memoir of, 164, 165. 
Richie’s, Mr., Statue of Mr. Ferguson, 111. 
Roberts’s Holy Land, Ac., 1 5. 

Royal Commission on the Fine Arts, 81, 82, 104, 
105, 138, 139, 184, 199 to 211, 240, 257. 

Review of Engravings, Illustrated 
Works, Ac., viz., — Ancient and Modern 
Architecture, Ac., 286. Allan’s Slave Market, 


INDEX. 


287. Annuals, Ac., for 1843, 287, 288. Book of 
Beauty, 287. Keepsake, 288. Friendship’s 
Offering, 288. Forget Me Not, 288. Draw- 
ing Room Scrap-Book, 288. Juvenile Scrap- 
Book, 288. The American in Paris, 288. 
Anatomy for the use of Artists, 33. Allom’s 
Drawing of the Art-Union Prizes, 170. At- 
kinson’s Sketches of Affghanistan, 192. 
Barnes’s Linear Perspective, 194. Beattie’s 
Castles and Abbeys of England, 194. Best 
Pictures by the great Masters, 192. Boys’s 
“ London As It Is,” 218. British, French, and 
German Paintings, 64. Burges’s Introduc- 
tion to Perspective, 171. Byron’s Childe 
Harold’s Pilgrimage, 32, 33. Daly’s Review 
of Architecture, &c., 89. Chefnis’s Diagrams, 
143. Cockerill’s Tribute to the Memory of 
Sir C. Wren, 265. Complete Guide to the 
Fine Arts, 64. Conference between Sir J. 
J. G. Bremer and Chang, the China Admiral, 
64. Coronation, the Queen’s, 286. Costumes 
of Nations, 171. Cottager’s Sabbath, 89. 
Diez’s Portraits of the Royal Family and No- 
bility, 243. Diploma of the Pharmaceutical 
Society, 243. Dover, painted by Callcott, en- 
graved by Pye, 17. Drawing Book, by the 
School of Design, 143. Electrotint, by Samp- 
son, 193. Elliot’s Sketcher’s Guide, 243. 
Engravings from Sir Thomas Lawrence’s 
Works, 194. Engraving of the Widow’s 
Son, 265. Essay on Architecture, 64. Europa, 
painted by Hilton, 17. Ferraria's Ancient 
and Modern Costumes, 171. Figures of Pic- 
tures, by Claude, 63. Foggo’s Painting of 
Parva, 143. Gandy and Baud’s Windsor 
Castle, 193. Gil Bias and Camilla, 265. Glas- 
gow, illustrated by Nichol, 193. Guide to the 
County of Wicklow, 265. Hand Book of 
Northern Germany, 218. Hand Book of 
Needlework, 143. Hand Book of the History 
of Art, 65. Hand Book of the Galleries of 
Art, 62. Hand Book of Switzerland, 218. 
Hunser’s L’Espagne Artistique et Monu- 
mental, 193. Hawking Party in the Olden 
Time, 62. Heffner’s Illustrations of the Cos- 
tumes of the Middle Ages, 64, 65. Hendrie’s 
Letter to an Amateur Artist, 170. Heus’s 
Portrait of the Princess Augusta of Cam- 
bridge, 144. Highland Breakfast, 17. High- 
land Whisky Still, 169. Hunt’s Palfrey, a 
Love Story, 192. Hunt’s Miss Jim-ima Crow, 
243. Jackson’s Portrait of Sir Hugh Gough, 
171. Imperial Family Bible, 64. Italy, 
Classical, Ac., 63. King Charles I. in the 
Guard-room, 62, 63. Lambert's Hand-book of 
Needlework, 143. Launch of the Trafalgar, 
89. Lawrence’s Portrait of the Duchess of 
Richmond, 144. Leslie’s Portrait of the late 
Lord Chancellor Cottingham, 143. London 
As It Is, 33, 218. Loudon’s Encyclopseilia of 
Architecture, 170. Mansions of England in 
the Olden Time, 62. Martin’s Bedale Hunt, 
193. Martin's Eve of the Deluge, 265. 
Models in Clay, 241. Morison’s Views of 
Haddon-hall, 1 92. Moule’s Heraldry of Fish, 
265. Murray’s Environs of London, 265. 
Napoleon, Portrait of, 63. Newton’s Gems, 
242. Old English Hospitality, 17. Old 
Masters, Copies of, 283. Owen’s Etch- 
ings, 242. Pair of Landscapes, 17. Parris’s 
Coronation of Queen Victoria, 144. Peel, 
Sir Robert, 284, 287. Pilgrims Coming in 
Sight of Rome, 17. Portraits of the Duke 
of Wellington, 62, 89. Portraits of Lord 
Stanley, 63, 89. Portraits of the Princess 
Royal, 89. Price on the Picturesque, 217. 
Princess Royal, Portrait of, by Ross, 89. 
Queen (the) and her Children, Portraits of, 283. 
Rachel, 63. Radclyffe’s Palace of Blenheim, 


193. Raffaelle and his Father, 190, 191. 
Raffaelle’s Drawings, 165- Rawlins’s Ele- 
ments of Perspective, 265. Redciiffe Church, 
64. Reeves’s Characters of Painters, 194. 
Reynolds, Sir Joshua, Account of, 164. 
Ritchie’s Statue of Ferguson, 111. Roberts’s 
Holyland, Ac., 169,287. Runic Monuments in 
the Isle of Man, 63. Rustic Architecture, 63, 64. 
Ryalls’s Engraved Portrait of Prince Albert, 
265. Sampson, on Electrotrint, 193. Scenery 
of the Pyrenees, 112. Sketches in Norway, 
64. Sketches of Fallow Deer, 64. Smee’s 
Electro Metallurgy, 193. Stephano, 64. 
Strafford, Earl, Trial of, 242. Summersley’s 
Hand-book for Picture Galleries, 194. Thom- 
son’s Seasons, 192. Transactions of the 
Royal Institute of British Architects, 194. 
The Tired Huntsman, 63. Tower, the, An- 
tiquities, Armour, Ac., 87, 88. Trial of Earl 
Strafford, 242. Turner’s Painting of the Em- 
barkation of Regulus, 144. Wanderings of 
an Artist in Italy, 243. Waverley Novels, 89, 
112,170. Widow’s Son, 265. Widow, The, 
Engraving of, 243. Wellington, Duke of, 
Portrait by Biggs, R.A., 89. 

Sales of Pictures, Ac., for the Month, 32, 61, 
106,166,187,241. 

School of Design, 82. 

Art, 240. 

Sculpture in Great Britain, 47. 

Smyth’s Drawings of her Majesty’s Ball Cos- 
tumes, 185. 

Spilsbury’s Fixtures in Water-Colours, 32. 

Stidolph’s Chiragon, 241. 

Strawberry- hill, Sales at, 83, 108, 140. 

Stucco Paint Cement (Patent), 212. 

Taylor’s (Capt.) Floating Breakwater, 61. 

Temple Church, 186, 258. 

Theakstone, Mr. Joseph, Obituary of, 99. 

Tower, the, 88 ; Carved Inscriptions in, 166. 

Townsend’s Spring Flowers, a Poem, 259. 

Turner, John, Esq., Sale of his Pictures, 106, 141. 

Unique Bible, 106. 

Utilitarians versus Fine Arts, 60, 61. 

Vehicles in Painting, 4, 5, 12, 25, 26, 98, 99, 167, 
188, 231, 238. 

Vernon, R., Esq., Sale of his Pictures, 106, 141. 

Virtuosi Provident Fund, 283. 

Wales, Prince of, Ceremony of the Christening, 14. 

Water-Colours, Society of Pointers in, 13, 100. 

New ditto, 14, 60, 102, 103. 

Spilsbury, Fixtures in, 32. 

Waterloo Battle, Burford’s Panorama of, 84. 

Heroes, 83, 84. 

Waverley Novels, Illustrations of, 89,112, 130-3. 

Wellesley, Marquis, Statue of, 165. 

Wellington (Duke of) Statue, 10, 11, 82, 84, 106. 

■ and Napoleon, 32. 

Westminster Abbey, Painted Window in, 186. 

■ - St. Stephen’s Chapel, 99. 

Wilkie Testimonials, 12, 158, 185. 

Pallete, 166. 

Pictures, Exhibition of, 105, 159, 160. 

Sale of, 38, 84, 106, 111, 140. 

Sketches, 140. 

Works, 105, 111, 212, 239. 

Windsor, Windows of the Chapel Royal, 258. 

Wood Engravings, Specimens of, 49 to 56, 105. 

Woolett, the Engraver, 105. 

Wyatt, Mr., Prince Albert’s Commission to, 31. 

Wyatt’s Statues, 84, 106. 

Wyon's Medal of the Baptism of the Prince of 
Wales, 185. 

Works in Progress, 6, 7, 31, 46, 67, 80, 165. 


Digitized by VaO 



THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 36. 


LONDON: JANUARY 1, 1842. 


Prick 8 d. 


THIS JOURNAL BEING STAMPEDy CIRCULATESy POSTAGE FREE TO ALL PARTS OF THE UNITED KINGDOM . 


RT-UN ION 


LONDON. 


President. 

His Royal Highness the Dure of Cambridge. 
Committee of Management. 

Henry G. Atkinson. Esq., Edward Hawkins, Esq., 
F.G.S. F.R.S., F.S.A. 

Chas. Barry, Eaq., A.R.A. Henry Hayward, Esq. 
John Ivatt Briscoe, Eaq. William Leaf, Ksq. 

John Britton, Esq., F.S.A. Win. C. Macready, Esq. 
Benjamin Bond Cabbell, T. P. Matthew, Esq. 


Eaq., F.R.S., F.S.A. 

W illiam Collard, Eaq. 
Robert Dickson, Esq., 
M.l)., F.L.S. 


T. P. Matthew, Esq. 
Thomas Mist, Esq. 

T. Moore, Esq., F.S.A. 
George Morant, Ksq. 
George John Morant, Esq. 


Charles Palmer Dimond, Richard Morris, Esq. 

Esq., Treasurer. John Noble, Esq., F.S.A. 

Thos. L. Donaldson, Esq. Lewis Pocock, Esq., F.S.A. 
William Ewart, Esq., M.P. The Right Hon. the Lord 


J. S. Gaskoin, Esc]. 
George Godwin, Esq., 
F.R.3., F.S.A. 

Thos. Griffith, Esq., M.A. 


Prudhoe. 

W. J. Smith, Esq. 

Arthur Win. Tooke, Esq., 
M.A. 


Sir Bern. Hall, Bart., M.P. R. Z. 3. Troughton, Esq. 
T. Charles Harrison, Esq., Samuel Wilson, Esq., Aid. 


F.L.S., F.G.9. 


Edward Wyndham, Esq. 


Honorary Secretaries. 

George Godwin, Esq., F.R.S., F.S.A., 11, Pelliam- 
crescent, tirompton. 

Lewis Pocock, Esq., F.S.A., 29, Montague-street, Rus- 
sell-square. 

The Art-Union was established in 1836, to aid in 
extending the love of the Arts of Design through the 
Uuited Kingdom, and to give encouragement to Artists 
beyond that afforded by the patronage of individuals. 

1. It is composed of Annual Subscribers of One 
Guinea and upwards. 

2. The funds, after paying necessary expenses, are 
devoted to the purchase of Pictures, Drawings, Ena- 
mels, Sculpture, or Medals. 

3. Every Member, for each Guinea subscribed, is 
entitled to one chance of obtaining some work of Art 
at the annual distribution, the selection of which rests 
with himself. 

4. In addition to the equal chance annually afforded 
to each Subscriber of becoming the possessor of a va- 
luable work of Art, by the result of the allotment, a 
certain sum is set apart every year to enable the Com- 
mittee to procure an Engraving; and of this Engraving 
each Member will receive one impression for every 
Guinea subscribed. 

An Engraving of Mr. Landseer’s picture, ‘ THE 
TIRED HUNTSMAN,’ by Mr. H. C. Siienton, is 
now in course of distribution to the Subscribers of the 
year 1840, at Messrs. P. and D. Coluaghi’s, 14, Pall- 
mall East. 

Mr. J. P. Knight’s picture, ‘THE SAINTS’ DAY,’ 
is in the hands of Mr. W. Chevalier, to be engraved 
for the Subscribers of 1841. 

The Subscribers of the current year, ending March 
1842, will receive impressions of an Engraving by Mr. 
W. H. Watt, of Hilton’s fine picture, ‘ THE RE- 
TURN OF UNA.' 


Prospectuses may be obtained at the Society’s Office, 
73, Great Russell-street (corner of Bloomsbury-square), 
where the Clerk is in attendance daily, from Twelve till 
Five o’clock, to afford any information that may be re- 
quired, and to receive Subscriptions. 

By order, T. E. Jones, 

Clerk to the Committee. 


LITERATURE AND ART. 

A ssociation for the promotion of 

the FINE ARTS in SCOTLAND. 

Founded in 1834. 

Committee of Management for the Year 1841-42. 

The Hon. Lord Jeffrey. Sir Gilbert Stirling, Bart. 
Sir G. M/Fherson Grant, Right Hon. Sir Geo. War- 
Bart. render, Bart. 

Right Rev. Bishop Terrot. Professor Wilson. 

William Murray, Esq., of R. Bell, Esq., Advocate. 

Henderland. G. Dundas, Esq., Ditto. 

J. T. Gibson Craig, Esq. Arthur Forbes, Esq. 

M. Napier, Esq., Advocate. Sir W. Forbes, J. Hunter, 
Edward Piper, Esq. and Co., Bankers. 

Secretary. 

J. A. Bell, Esq., Architect. 

Honorary Secretaries for London. | 

T. M. Nelson, Esq., Architect, 3, Charles-street, St. 
James’s-squnre. 

Messrs. Smith, Elder, & Co., Booksellers, 65, Cornhill. 
John Stovenson, Esq., 11, Aldersgate-street. 

John Leslie, Esq., Bookseller, 52, Great Queen-street, 
Lincoln’s-inn-fields. 

The object of this Association is to advance the cause 
of Art in Scotland, by affording additional encourage- 
ment to its professors, in the following way : — 

A Subscriber of ONE GUINEA becomes a Member 
for One Year ; has a chance of gaining a valuable Work 
of Art ; and the certainty of receiving a valuable En- 
graving. 

An Annual General Meeting of Members is held in 
May, for the purpose of electing a Committee of Ma- 
nagement, w ho are entrusted with power, for one year, 
to purchase what may appear to them the most deserv- 
ing Works of Scottish Art annually exhibited. At this 
Meeting, likewise, the different Works purchased for 
the Association become, by lots publicly drawn, the 
property of individual members. 

This Association, the first established iu the United 
Kingdom for the encouragement of Art upon these 
principles, has progressively increased in its annual 
fund, from the sum of .^72S, subscribed in the year 
1834, to the sum of ^6767, subscribed in the year 1841. 

Last year, the Works of Art purchased for the Asso- 
ciation amounted to One Hundred and Forty in num- 
ber, at a total expenditure of nearly j 6'5(K)0. Besides 
this large sum, which, in the form of Paintings and 
Sculpture, was distributed among Subscribers, a large 
amount was reserved with a view to meet the expenses 
incurred by the execution of a very talented Engraving, 
to copies of which all Subscribers are entitled. 

At the Annual General Meeting of the Association, 
held in May 1841, the Hon. Lord Jeffrey, who, on the 
motion of the Right Mon. the Earl of Seatield, was 
called to the chair, said, “ That the great aim of the 
Members of this Society was to advance a taste for 
Art, and to extend the fame and honour of artists; aud 
he was lianpv to say, that, to a great degree, they had 
accomplished both these objects, by diffusing a taste 
for Art among the Scottish public, and by raising a 
higher standard of excellence among artists them- 
solves*** 

In conformity with the sentiments expressed in the 
above quotation, the Committee of Management take 
this opportunity of earnestly requesting the attention 
of all those who have not yet enrolled themselves as 
Members of the Association, to its great importance 
and usefulness as a National Institution. The plan of 
uniting the efforts of individuals, by a small Annual 
Subscription from each, into one large fund for the 
benefit of all, has established in favour of Art a new 
and most vuluable source of encouragement. 

Members for this year, 1 *4 1 -42, will be entitled to 
copies of the Line-Engraviug now being executed by 


Mr. John Burnet, after Mr. William Allan’s admirable 
Historical Picture of * An Incident in the Life of Ro- 
bert the Bruce.* As both the painter and engraver 
have acquired for themselves high professional distinc- 
tion, it is not to be doubted but tout this Engraving 
will prove a fine specimen of combined native talent. 

The Members for last year. 1840-41, will receive, 
early in the course of next year, copies of the Engrav- 
ing executed by Mr. Charles Rolls, after Mr. Fraser’s 
talented Picture of * The Moment of Victory.’ An im- 
pression from this Plate, which is now in the hands of 
the printer, may be seen on application to any of the 
Local Honorary Secretaries. 

These Engravings will cost the Association a large 
sum ; and every copy will in itself be worth more than 
the usual Annual Subscription of One Guinea. 

It is confidently anticipated that the varions Works 
of Art to be purchased by the Committee will this year 
surpass in merit and value those of any former year ; 
and they will, as usual, be distributed by lot among 
the Members at the Annnal General Meeting in May. 

Subscribers’ names are now received ; and upon ap- 
plication to the Secretary, 69, York Place, Edinburgh, 
or to any of the Honorary Secretaries in Town or 
Country, reports may be obtained, information given, 
and subscriptions paid. 

Edinburgh, Nov. 1841. 

R oyal irisii art-union.— 

President— The Marquis of Ormonde. 

The beautiful Engraving of ‘THE BLIND GIRL 
AT THE HOLY WELL,’ now issuing to the Mem- 
bers of this most flourishing and successful Society, 
may be seen at Messrs. Colnagbi’s, Cockspnr-street ; 
Messrs. Graves’s, Pall Mall; or at Mr. Roberson’s, 
51, Long Acre ; where Tickets for the current year, 
One Guinea each, may be obtained ; or the same may 
be transmitted by Post-oflice order, to 

8tkwart Blacker, Esq., Hon. Secretary, 
20, Gardener’s Place, Dublin. 


A RTISTS’ AND AMATEURS' CONVER- 
SAZIONE.— The Members are reminded tbat the 
SECOND MEETING of the Season will take place at 
the FREEMASONS’ TAVERN, on WEDNESDAY, the 
5th of January. 

Now ready, 

E UROPA. Exquisitely engraved by Charles 
Heath, after W. Hilton, R.A. Price— Prints, 
£\ Is. ; Proofs, £*l 2s. ; before Letters, £4 4s. 

This charming Print, from one of the finest Pictures 
of the late Historical Painter, W. Hilton, R.A., has 
just been finished, after seven years’ incessant labour, 
by Mr. Charles Heath. The Proofs before Letters are 
nearly all subscribed for. 

F. G. Moon, Printseller and Publisher to the Queen, 
20, Threadneedle-street, London. 

NOTICE TO PRINTSELLERS, PUBLISHERS, &c. 

M essrs, h. graves and company, 

6, PALL MALL, beg to inform the Trade and 
the Public in general, that the celebrated 

Portrait by Paul de la Roche, 

‘ NAPOLEON DURING THE HUNDRED DAYS,* 
is their Copyright, and any person engraving from, 
or selling any pirated copy of the said Portrait, will be 
subjected to an Injunction in Chancery. The ori- 
ginal Engraving, by Aristide Louis, may be had of all 
respectable Printsellers. 

Prints jtfl Is. Every proof sold. 


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THE ART-UNION 


MILLERS SILICA COLOURS. 


In introducing these Colours to the notice of Artists and of the Public, it will not, perhaps, be deemed obtrusive, if the Manufacturer presumes to offer a few remarks 
upon the subject, seeing that, by the application of many years’ experience, aided by numberless experiments, he has, at length, most successfully accomplished his object, 
in bringing back to light a long nuried secret of ancient Art. 

The countless ana laborious efforts that, from time to time, have been made by modern Artists, to produce Colours that might bear comparison in point of brilliancy 
and durability, with those of the Old Masters, are sufficiently known to need further comment. It is likewise, unfortunately, but too well acknowledged how fruitless 
these efforts have been. For although, at first, their works might appear to vie successfully with the antique originals, yet when placed, a twelvemonth afterwards, by the 
side of their prototypes, how great a falling off was there! What au universal degeneracy of tint and tone ! While the ancient productions seemed as fresh and vivid as 
if they were the creations or yesterday, and appeared by their undecaying brilliancy and clearness to deride alike, the attacks of time and the feeble composition of 
modern Art. 

The injurious effects of light and atmosphere on the colours of the present day, are very clearly evidenced by the contrast of Ultramarine, which being manufactured 
on the same principle as the Colours of the Old Masters and the Silica Colours, has been erroneously supposed to have derived an accession of brilliancy from age. Such, 
however, is not the fact. The phenomenon of its apparently increased vividness, is the result of its simply retaining its original lustre, whilst that of the other colours of 
the picture has invariably declined and faded. Were any one sceptical of the superiority of ancient colour, every doubt might be easily removed by a glance at the two 
pictures of Francia, recently added to the collection in the National Gallery, and painted between three and four hundred years ago. The transparency and freshness of 
their tints have that time-defying character and gem-like lustre, that modern paintings seldom perhaps possess and never retain. 

In the early periods of Art, the painter, having no colourman to prepare his colours for him, was compelled to seek and compose them himself, from whatsoever 
substances were at hand, from earths and stones ; and chiefly from their use of such imperishable materials, unimpaired by chemical agency, may be inferred the great 
durability of his productions. 

The present Silica Colours, now confidently submitted to the ordeal of public opinion, have already been severely tested by Artists of the first eminence, and by 
persons of scientific attainment, whose judgment has been unequivocally expressed in tbeir favour; and who do not hesitate to affirm that they reveal the mystery of 
ancient colouring; and that they possess all the invaluable qualities of transparency, brilliaucy, and durability, which are so eminently conspicuous in the works of the 
ancient painters. 


The Silica Colours are prepared in collapsible tubes, 
and can be forwarded per post to any part of the coun- 
try, on receipt of au order, for any of the under-men- 
tioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. 

Pale and Deep Yellow. 

Pale and Deep Orange. 

Pale and Deep Purple. 

Pale and Deep Green. 

Pale and Deep Brown. 

White, Gray, and Black. 

VAN EYCK’S GLASS MEDIUM for OIL PAINTING. 

This Medium having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Mddem School ; 
namely, the destructive effects of Varnishes, Oils, and 
M’guelps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glass Medium in Bottles . 

No. 1. For first and second painting, and for mixing 
with colours already prepared in Medium. 

No. 2. For general painting, and for rubbing up pow- 
der colours with. 

No. 3. For third painting, finishing, and glazing, 
or mixing with lakes and other colours, requiring 
strong driers, giving at the same time additional trans- 
parency. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s pure Floren- 
tine Oil. 

Glass Medium in Powder . 

Nos. 1, 2, and 3. 

If these powders be mixed stiff upon the palette with 
a small portion of Miller’s pure Poppy Oil, it will 
enable the Artist to lay colour, pile upon pile, and to dip 
his pencil in water or oil at pleasure. It will also dry 
so hard that it may be scraped with a kuife on the fol- 
lowing day. 

T. M. would recommend Artists to replenish their 
Colour Boxes with Colours prepared in Medium, as 
they will be found better in every respect than those 
prepared in the ordinary oils. 

T. M. would also beg to remark, that while Artists 
continue to use colours as commonly prepared in oils, 
they only reap half the advantage resulting from the 
gre*t improvement in the art— which the Media are 
acknowledged to be by upwards of one thousand Artists 
who have already tried and approved it. 


T. MILLER, being the original preparer of this In- 
valuable Medium, has the honour of supplying 
Sir Martin Archer Shee, President of the 
Royal Academy, 

Sir A. W. Calcott, R.A. W. Gush, Esq. 

C. L. Eastlake, Esq., R.A. J. Hall, Esq. 

W. Etty. Esq., R.A. C. Hancock, Esq. 


W. Etty, Esq., R.A. 

D. Maclise, Esq., R.A, 
W. Mulready, Esq., R.A. 
T. Phillips, Esq., R.A. 


R. G. Hammerton, Esq. 
| W. Havell, Esq. 

J. M. Hendric, Esq. 


H.W.Pickersgill,Esq.R.A. T. C. Holland, Esq. 

D. Roberts, Esq.,R.A. James Holmes, Esq. 
J. M. W. Turner, Esq.R. A. F. Y. Hurlstone, Esq. 
C. R. Leslie, Ksq., R.A. J. Huskisson, Keq. 

H. P. Briggs, Esq., R.A. — Jenore, Esq. 

W. Collins, Esq., R.A. T. M. Joy, Esq. 

W. C. Ross, Esq., R.A. J. D. King, Esq. 

S. Drummond,Esq.,A.R.A. S. Lawrence, Esq. 

J. P. Knight, Esq., A. R.A. J. M. Lea, Esq. 

C. Landseer, Esq., A.R.A. W. L. Leitch, Esq. 

R. Redgrave, Esq., A. R.A. T. Lewis, Esq. 

T. Webster, Esq., A.R.A. J. Lucas, Esq. 

A. Aglis, Esq. J. Lynn, Esq. 


W. Allen, Esq. 

F. W. Andrew, Esq. 
J. Ayton, Esq. 

C. Baxter, Esq. 

R. Beechey, Ksq. 

J. Bell, Esq. 

W. Boxall, Esq. 

W. Bradley, Esq. 

J. Byrne, Esq. 

J. Calrow, Esq. 

G. Cattermole, Esq. 
J. Cole, Esq. 

W. Collett, Esq. 

C. A. Constant, Esq. 

— Cooper, Esq. 

J. Coventry, Esq. 

G. Crockford, Esq. 
W. Derby, Esq. 

— Duncan, Esq. 


J. Lynn, Esq. 

J. Martin, Esq. 

R. M‘lnnes, Esq. 

S. Moyford, Ksq. 

H. Moseley, Esq. 

J. Muller, Esq. 

Sir W. Newton. 

R. P. Noble, Esq. 

It. Noble, Esq. 

R. R. Penson, Esq. 

J. T. Parris, Esq. 

A. Pen ley, Esq. 

— Raphael, Esq. 

Ch. Reat, Esq. 

W. Richardson, Esq. 
G. It. Robinson, Esq. 
J. R. Say, Esq. 

J. Stark, Ksq. 

Miles Smith, Esq. 

K. B. Spalding, Esq. 


— Dyce, Esq., Royal School F. Stone, Esq. 

of Design. C. Stonehouse. Esq. 

T. Eilerby, Esq. Weld Taylor, Esq. 

T. Ellis, Esq. Charles Taylor, Esq. 

G. Field, Esq. F. Thrupp, Esq. 

W. Fisher, Esq. R. J. Walker, Esq. 

W. Fisk, Esq. G. Wallis, Esq. 

Deffell Francis, Esq. G. R. Ward, Esq. 

W. H. Freeman, Esq. W. II. Watkins, Esq. 

E. A. Gifford, Esq. S. M. Webster, Esq. 

J. Gilbert, Esq. S. Wilson, Esq. 

H. Gulson, Esq. T. Yeats, Esq. 

And many other Artists of Eminence. 

T. M. would also call the attention of Artists to his 
new SILICA GROUND CANVASS. This Canvass, 
not being prepared in the usual method with common 
oils, causes all colours used on it to dry from the bot- 
tom, and not from the surface, as is now the case, 
thereby, in the painter’s phrase, giving a light within. 
May be had of all sizes, on frames and in rolls. 
Prepared Mill Boards and Panels for Sketching and 
Painting. 

Miller’s new SILICA VARNISH. This varnish, 
not being made of soft gums, like the ordinary var- 
nish, when once dry cannot be removed from the 
painting; neither is it acted on by the atmosphere, 
which frequently occasions the effect of a thick bloom, 
similar to that of a plum, thereby entirely destroying 
the effect of the picture. All these evils are completely 
obviated by the use of the Silica Varnish. 

Colours prepared with Spirits for Oil and Water- 
colour Painting in impalpable Powder. 

Mahogany Oil and Powder Colour Boxes fitted up 
complete. 

Japanned Tin Oil Colour Sketch Boxes ditto. 


To Water-Colour and Miniature Painters. 
MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and for 
enabling the Artist to repeat his touches without dis- 
turbing the colours already laid on, has been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints unin- 
jured y in durability it will approach nearer to Oil 
Painting than anything hitherto iu use. 

Glass Medium in Bottles. 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

Also the NEW SILICA COLOURS, prepared in 
Cakes, which possess many and great advantages over 
the Cake and Moist Water Colours, at present in use. 

Japanned Tin Water Sketch Boxes, with Bottle, 
Cups, &c., complete. 

T. M. has great pleasure to inform Artists that he 
lias on sale all the Colours made by G. Field, Esq., au- 
thor of “ Chromatography,” &c. &c. 

T. M. has also all the remaining stock of Ultra- 
marines, manufactured by the celebrated Italian 
maker, the late G. Arzone. 

MILLER’S PREPARED LEAD PENCIL9 

FOR DRAWING, &C. 

Of different degrees of hardness, without grit. 

MARKED 

H Moderately hard, used for sketching. 

I1H A degree harder, used for outlines and fine 
drawing. 

HHII Ditto ditto, used for architectural drawing and 
short-hand writing. 

HB Moderately hard and black, used for sketching 
and filling iu. 

B Black, used for shading. 

BB Softer, with extra depth of colour. 

EBB Ditto ditto (double thick lead). 

F Rather soft, but firm for drawing. 

FF Ditto ditto (double thick lead). 

DRAWING AND CRAYON PAPERS. 

Crayon and Mounting Boards. 

London and Bristol Boards. 

French and other Tracing Papers. 

CHALKS. 

Italian, French, and German Black, White, and Red 
Chalks, in Pencils or Crayons, of the finest selection. 

BRUSHES AND PENCILS. 

Fine French Hog Hair Tools, flat and round. 

Goat’s Hair ditto ditto. 

Sable ditto ditto. 

Fitch ditto ditto. 

MILLER’S NEW PALETTE 
Is held in the same manner as the one in general 
use, but the thumb-hole is dispensed with, thereby ob- 
viating the annoyance resulting from oil and colour 
running through upon the hand, and will doubtless en- 
tirely supersede the present one. 

DISSOLVING VIEWS. 

Colours prepared in small boxes, for painting the 
Dissolving Views as now exhibited at the Koval Poly- 
technic Institution, with directions for use. Tne same 
Colours are also applicable for painting the slide 
glasses of Magic Lanterns, and devices or ornaments 
on ground glass, in imitation of the old masters. 
MILLER’S PREPARATION FOR CLEANING AND 
RESTORING OIL PAINTINGS, 

In small boxes complete, with directions for use. 

Wholesale, Retail, and for Exportation, at 
MILLER’S Artists* Colour Manufactory, 

56, Long Acre, London. 


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1842 .] 


THE ART-UNION, 


3 


THE ART-UNION. 



LONDON, JANUARY 1, 1843. 


I We cannot enter upon the Fourth Year of our 
existence without expressing our grateful sense 
I of the extensive support we have received . Our 

! present position is such as to secure us from all 

the “ chances and changes” to which periodical 
I literature is subjected. A large, and increasing , 

I circulation , gives us augmented power qf carrying 
I out our original design — 44 to supply to artists 
| accurate and useful information upon all subjects 
in which they are interested , and to the public 
! the means of justly ascertaining and estimating 
i the progress of Art both at home and abroad.” 

Our future efforts will be commensurate with our 
j past exertions. But , with the ability to command 
additional force , and an earnest desire to employ 
| it beneficially , our readers may look for that im- 
i provement in the conduct qf our journal which 
| they are, undoubtedly, entitled to require and 
j command. We have heretofore attributed our 
I success, mainly, to the 44 honesty qf purpose to 
which we fearlessly lay claim." We have acted 
I up to our imperative duty — of expressing , in every 
j instance , the opinions: we' entertain, without re- 

I gard to the wishes , or the interests , qf any person 
i or any party. We have endeavoured to do so, 

I on all occasions, without arrogance or presump - 

I lion; to be swayed by no prejudice; to be misled 
by no partiality : to be biassed only by generous 
I considerations qf the difficulties that embarrass 
genius at the outset, and by a conviction that we 
I are best employed in removing , rather than in - 
creasing , them. We have thus succeeded in ob- 
! taining the confidence qf the artists and the public: 

and we are not likely to risk it by a departure 
from the course by which it has been gained— an 
earnest desire to think and to act rightly. 

Unconnected as we are— and shall be — with 
what is technically termed “ the Trade with any 
interest , indeed , that can, either directly or in- 
directly, control our movements , our line qf duty 
is a plain and straight one ;—our prosperity can 
, be secured only by being the upright and con- 
sistent representative qf the artists of Great 
Britain. 

I The came of British Art is, unquestionably , 

I triumphing : at length, the Nation has been roused 
to consider it worthy of fosterage; the artists 
1 must be excited into corresponding energy ; to 
watch with scrupulous, \f not suspicious, care, 

1 the early bias of National patronage. Upon the 
, first direction the streamlet takes will depend 
the subsequent course of the river. There has 
I been no period in the history of our age and 
country, so pregnant with good, or evil, to a 
| generation and its posterity, as that upon which 
I we are now entering. To the accomplished and 
high-minded Statesman— the first who has given 
| impulse to the Arts of Great Britain— we owe 
j already a debt of gratitude; he has planted the 
seed that may yield the future harvest. 

We contemplate certain improvements, that 
will be manifested as we proceed. We may ob- 
serve, however, that we desire to promote the 
purposes of the useful Arts by showing how ad- 
vantageously they may be influenced by the Fine 
Arts; and how largely our manufactures may 
be benefited by the aid of taste and genius. 

But our business, now, is little more than to ex- 
press our thanks for the success we have obtained, 
and the assistance we have received; to deliver 
assurances qf added power and, if possible, in- 
creased zeal, in the service qf British artists; and 
to promise that every source of information 
shall be rn^de available, in order to secure con- 
tinued prosperity. 


THE NATIONAL COMMISSION. 

BRITISH ART. 

Eminence in the Fine Arts is now the one thing 
wanting to crown the cumulus of England’s 
glory. It is so recognised a truth, that the re- 
mark has become almost as trite as a proverb. 
Like Rome of old, this country, foremost in all 
the rougher Arts, and craving for herself the 
grandest mental attributes, has been too content 
to slake her thirst for the civilizing refinements 
of the Arts at foreign fountains, while it wanted 
but a word, like the rod of Moses, to draw forth 
the 11 living waters ” from the rock at home. 

Professional ambition and patriotic ardour in 
the more enlightened portion of society have long 
employed the most ardent endeavours to raise 
among the public an active love and encourage- 
ment of the Fine Arts in Great Britain. Project 
has followed project, effort has succeeded effort, 
but for a long time all was “ void and of none 
effect even voluntary promises of gratuitous 
artistic exertions failed to rouse any excitment, 
further than that attending a callous and half- 
contemptuous refusal of the proffer ; and when 
some high-souled son of genius, like Barry, or 
Hilton, or Proctor, aimed at following out the 
high destinies which nature had apparently as- 
signed him, not only did pecuniary recompense 
desert his studio, but he was too often doomed 
to see knightly national honours alight, by pre- 
ference, upon those whose devotion to Art was 
not unaccompanied by the requisite attention to 
Mammon ! Far be it from us to suppose that 
the man who claims for himself and manifests 
to the world the attributes of high genius, is, 
therefore, to be petted and spoiled, and led 
to imagine himself exempt from all the ordi- 
nary efforts which are imposed upon mor- 
tals to maintain their own wants by their 
own contributions to the common stock 
of the “ utilities.” But, if national policy 
and national gratitude mark out, from other 
professions, men whose services are said to 
entitle them to national support and exaltation, 
we do peculiarly claim these distinctive marks of 
favour for the devotees of the highest branches 
in Painting and Sculpture, and consider it a 
point of great importance to the nation, that such 
rewards should be distributed with the strictest 
attention to the intellectual, and not to the mere 
worldly, elevation of the claimants. If there be 
men who, in despite of depressing circum- 
stances, spurred on solely by their eagerness to 
develop what is beautiful and true, have dedi- 
cated their lives to works which humanize those 
who contemplate them, while they glorify the 
land of their production, how much more might 
we not expect from the hands of such men, if 
they were cheered on by the consciousness that 
a Nation's eyes were upon their labours; and 
that their success, while it benefited and de- 
lighted their fellow-beings, would, at the same 
time, draw in its train a certain exemption from 
toil for themselves. The truth, however, is, that 
we, as a nation, have been lamentably accus- 
tomed to treat genius in the Arts as if it were a 
prolific weed, which “ grows apace,” and needs 
no culture; we have afforded hot-bed shelter to 
the more humble offshoots of the same plant, 
and they have flourished, while the great stem 
has never arrived at anything further thhn a 
kind of stunted maturity. We have not suffi- 
ciently borne in mind the 44 moral” of the 
verses : — 

44 Princesand Lords may flourish or may fade, 

A breath can make them as a breath has made; 

But,” &c. 

Not thus has it been wherever Art has attained 
that grand climax which alone reflects true 
glory on a state, and which, through ages, when 
other glories have been half forgotten, continues 
to surround the nation’s name with a halo of 
renown, and to produce a constant stock of 
pleasure and of high feeling — may we not also 


add of commercial profit ? — for which successive 
generations make a grateful return. What 
would be Italy without her poetry and her 
Arts? Velasquez and Murillo start forward 
from the bright age of Spanish glory, on the 
same parallel with the names of Columbus and 
Lopez de Vega, and their delightful works 
still remain, charms for thousands, and a record 
for themselves; and assist us to fathom the 
natural depths of Spanish mind, when time and 
fate have detracted from other jewels of the 
Spanish diadem. Bavaria in the present day 
would be but a poor German state, did not her 
constellations of modern Art attract the atten- 
tion of all Europe ; and France, not content with 
her martial and other achievements, taking a 
foremost rank in the works of peace as she 
shone in deeds of war, proudly encourages the 
professors of those Arts whose works will be 
an honourable and joy-evolving fact, when the 
44 system of Napoleon ” may be but an historic 
name. Shall England be the last in a contest 
for such a palm? She, whose science settled 
the system of the world, and evoked the 
powers of steam, and whose literature boasts 
of that poet whose deep and happy influ- 
fiuence is co-extensive with the varied smypa- 
thies of the human heart. Happy are we, then, 
thatjthe epoch of a generous culture of the Arts 
in Great Britain appears to have now fairly com- 
menced, and with so much of earnest enthu- 
siasm, and under such brilliant auspices, that 
the good result cannot be questioned except by 
those who participate in the anti-English no- 
tions of Wincklemann, Du Bos, and — others 
nearer home ! 

There has sprung up of late years, among 
the public generally, a wide-spreading interest 
in the productions of the chisel and the pencil; 
and there are now institutions rapidly and 
powerfully organized to give a focus to that 
interest, and to foster the truest taste. It will 
be at once perceived that we allude to the Art- 
Union Societies in different parts of the king- 
dom. Without here entering into the strict 
merits of the various associations, we rejoice to 
render our heartfelt thanks to the originators 
and present promoters of Institutions calculated 
to exert so wonderful an influence upon the 
state of the Arts in this kingdom. Their powers 
will be prodigious, and, rightly exercised, they 
may supply to the rising generation of artists 
all the benefits which the patronage of princes for- 
merly afforded, without any of the attendant dis- 
advantages. The great subdivision of the money 
subscribed is a politic and valuable arrange- 
ment, because it not only tends to promote the 
cause of these societies by extending the num- 
ber of those who hold prizes, but also to diffuse 
into a great variety of channels a substantial 
patronage. We look, however, with great hope 
to the effect of the larger sums. It is by these 
that pictures will be purchased whose merits 
might otherwise have borne the 44 bright reward 
of fame” alone, andif (as we have stated it to be in 
contemplation) the two highest prizes should be 
made of some unusually large proportions, there 
may arise a demand thenceforth for works of 
Art of an importance far beyond that presented 
by the general average of our exhibitions— a de- 
mand which would quickly meet its due response 
from the artists. 

Rapid and important, however, as have been 
and will be the changes which these Art-Unions 
will effect for the benefit of Art, it is only a 
Government that can be looked to for evolv- 
ing that highest condition of Painting and 
Sculpture, where they are employed as intellec- 
tual ornaments of the public buildings of the 
State. And here we enter upon a topic that 
has of late interested society to an extent that 
bodes well for the lovers of Art. 

Year after year, for nearly a century, the de- 
mands of British Art upon the care of the Go- 


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4 


THE ART-UNION. 


[Jan. 


vernment have met with so little attention as 
scarcely rises above neglect. The distress at 
one time, foreign wars at another, or the equally 
embarrassing warfare of “ parties” at home, 
have been at least the ostensible reasons why 
Painting and Sculpture have obtained few of 
those fostering aids which were afforded to the 
1 Arts bearing more immediately and apparently 
upon improvements in our commerce. Tardily 
and coyly, indeed, a School of Design has of late 
years offered to our manufacturers the means of 
obtaining a correctness and elegance of designs 
for the purposes of commerce ; and under its 
present able management, there is no saying to 
what important results the Institution may 
lead. The instruction given at Somerset House 
j is as varied as it is complete ; and the body of 
students, whose ideas of “ design” will be formed 
there, will doubtless, ere a few years are over, 

I work a thorough change in the taste displayed 
! in our manufactures, and enable us to compete 
! os successfully os ever with the rapidly-improv- 
j ing works of France* and other foreign nations. 

| Singular does it seem, however, to those who 
look on with a wide scope and philosophic eye, 
that whilst every other exertion of human power 
has been adopted to wotk on the moral nature 
j of the great masses of the community ; while 
I mechanics' institutes have opened the doors of 
science, and society after society have been en- 
, deavouring to diffuse the doctrines of morality 
J and of revealed truth, there has been a com- 
I plete national oversight of one of the most 
! powerful agents that the Government of a coun- 
try might employ to sway, by a silent eloquence, 

| the minds of men ! 

In the middle ages Painting was the great 
J open book that 44 all who ran might read.” 
Speaking a language common to all. it was made 
use of to teach important facts in a most im- 
pressive manner ; every wall bore its interesting 
! and important lesson, conveyed by that Art 
j whose refining operations are the more effective 
| because its admonitions are accompanied with 
sensations of pleasure ; an Art which appeals to 
j the meaner as well as to the higher intellects of 
| mankind; an Art which, embodying conceptions 
of the most exalted and spiritual nature, mokes 
them at the same time sensible to all, because 
it addresses itself through the best and most 
universal of media — the eye; an Art which is a 
silent appeal from soul to soul, vividly exciting 
the feelings, and rousing intellectual action even 
in the uninstructed. 

Those who take the trouble to visit the various 
national exhibitions, which have now been 
wisely opened to the public gaze, cannot have 
failed to notice the immense delight with which 
many a face of the artisan or the rustic is turned 
towards the che/s-d* oeuvres of Art Nor is it less 
singular than true, that the grander subjects ap- 
pear to obtain most of their attention. But if 
these works contained no fine truth, operated on 
none of the more admirable of our moral feelings, 
but were mere causes of innocent gratification 
to the sense, even then it would be a para- 
mount policy of a wise Government, os it would, 
undoubtedly, be a welcome boon to the people, 
to increase, by every reasonable amount of ex- 
penditure, the facilities for affording to the pub- 
lic the wholesome luxury of works of Art 

With these impressions we join in the general 
welcome to the appointment of the Royal Com- 
mission, 44 for inquiring whether advantage might 

* 44 The lustre of our manufactures, and the pros- 
perity which everywhere attended them, corresponded 
to the degree of influence which Painting possessed 
over them.”— 44 In fact, every vessel of silver and gold, 
of porcelain or common clay ; our jewels, arms, furni- 
niture, cartoons for tapestry, chintzes, laces, ribands, 
outrages de mode * (millinery), embroideries, g.dd and 
silver tissues, experience, more or less, in the bands of 
the workman who fashions them, the salutary effects 
of that influence.” — Dechazelle, “ Due our t sur Vin~ 
fiuenee de la Peinture sur tee Arts d’ indust rie com- 

mercial*,” 


not be taken of the rebuilding of the Houses of 
Parliament for the promoting and encouraging 
the Fine Arts.” 

Whatever may be the special result of the 
question propounded in this appointment of the 
Commission, — exhibiting, as the terms do, so 
material a deviation from those of the first 
announcement, — there can be little doubt that 
the mere agitation of the matter will have an 
important effect on the general interests of Art ; 
and that whether the senate-house be left to 
mere architectural simplicity, or be adorned by 
the united talents of our painters and sculptors, 
the importance of a general fostering of the Fine 
Arts by the state is fully recognised in the de- 
termination to inquire into one particular mode 
of its prosecution. This is, indeed, a great 
point gained, and the more especially if it be 
true, as we have heard stated, that the Govern- 
ment, during the great administrations of Pitt 
and Fox, generally sheltered itself from cases 
of a similar nature by asserting that “ the time 
was not yet come.” The time, it seems, has at 
length arrived, and arrived too with an opportu- 
nity which presents to the mind of an artist one 
of the most glorious means for the employment 
of his Art for his own reputation and to the 
credit of his country. Looking at the names 
composing the tribunal appointed to try this 
matter, the most gratifying surmises take the 
place of doubt, and Hope already exults in the 
prospect of the monument likely to be erected 
to the honour of the Arts in Great Britain, and 
sees another bright fiower entwined with the 
wreaths of our national renown. Art is too 
universal to belong to a party, but the public 
writer has a truly pleasing task when, in rendering 
a testimony to the intellectual and moral worth 
of the great leader of a party, he can feel that 
all will recognise on his feeble applause the 
powerful seal of truth. It is with this feeling 
we express our delight, that the Commis- 
sion emanates from its royal source, under the 
auspices of Sir Robert Peel. Without thinking 
that his predecessors would have failed in an 
enlightened and patriotic view of the question, 
we have reason to deem it a matter of no small 
and peculiar import, that the consideration of 
the subject will be bound up with the other 
statesmanlike projects of the present Premier. 
It is in the highly refined taste of Sir Robert, 
his well-known friendship with certain of our 
leading artists, and his liberal patronage of the 
artistical talents of his native land, that we be- 
hold the surest guarantees of his promoting the 
cause of Art to the utmost. The association of 
Prince Albert, also, with the labours of the 
Commission, is an augury of the most favoura- 
ble nature; because, not only does his name 
bring with it an additional importance, but his 
well-ascertained love of Literature and Art, com- 
bined with (if report speak truly) a practical 
adoption of the latter as a study, give an 
assurance that he will look upon the business 
with no careless or apathetic eye. He has 
already afforded public instances of his zealous 
desire to render the assistance of his name and 
patronage, where the merits of Art laid a claim 
upon him ; and has appeared desirous of sur- 
rounding his illustrious station with the halo of a 
reputation for true and refined taste. 

If, then, the Commission prosecute their “ in- 
quiry” with that zeal which their previously- 
proved interest in such subjects induces us to 
expect, there is abundant reason to look forward 
to a grand series of historical paintings and 
sculpture in the Houses of Parliament. As this 
is a pivot on which much turns, wc would ven- 
ture to suggest the endeavouring, on the part of 
the artists themselves, to contribute ns much as 
possible to forward the “ inquiry” when in pro- 
gress. Opinions on the various methods in 
which designs of this peculiar nature might be 
carried out, if digested with care and founded 


on substantial data, together with the means of 
enabling the Government to form an estimate 
of the probable expenditure required by the 
different modes of procedure ; the relative length 
of time which specific plans would require, and 
the readiness of the profession to enter upon 
their execution — these are matters for informa- 
tion, respecting which the members of the 
Commission will of course look to the artists. 
Upon these topics much remains, if space per- 
mitted, to be addressed to our readers, which, 
however, another occasion may permit us to 
develop. In the meantime, with the ardour of ■ 
true lovers of Art, we will conclude by express- 
ing our strong hope and conviction, that an 
epoch is arrived when this country will be en- 
abled to vindicate her claim to one of the most 
honourable attributes of & civilized community. 
Hateful would be the feeling, crooked would be [ 
the policy, and bad the taste, that should strive i 
to wrest from the native grasp so inviting and 
honourable a prize, to throw it among foreign- j 
ers. Let us adopt the lesson given us by the | 
high-minded and honourable Canova, and whilst | 
we reverence the works of genius abroad, pay j 
no disrespect to the gifts which nature may 
have lavished upon those of our own clime. 


ON VEHICLES FOR PIGMENTS. j 

TO THE EDITOR OF THE * ART-UNION.* 

Sir,— As the subject, 41 Vehicles for Painting,** j 
appears to be one of unusual interest to many of 
your readers, and as my name has been kindly 
mentioned in connexion therewith by one of your j 
valuable correspondents, who has long pursued 
with most enthusiastic zeal a tedious course of 
research, in order to develop, if possible, the 
means by which certain of the old masters pro- 
duced their peculiarly durable and brilliant effects ; 

I beg to offer a few remarks on the modern sub- 
stitutes which have been recommended to the ! 
public, for the real all-important desiderata so 
anxiously sought, yet so mysteriously obscured, 
and so unsuccessfully approximated during cen- 
turies. 

Addressing you and your readers rather as a 
chemist, than as an artist, I shall sedulously 
avoid the use of technical phraseology, and en- 
deavour to express myself clearly and intelligibly 
to all, even at the risk of being considered te- 
dious to some. 

The vehicles hitherto commonly used in paint- 
ing have been linseed oil and spirit of turpentine ; 
but, for certain reasons, these two vehicles alone 
have been by many considered insufficient. 

Now, I presume, the insufficiency of oil and i 
turpentine has been inferred, either because the 
pigments with which they have been blended have, 
from lapse of time, deviated more or less from ; 
their original colours and brilliancy ; or, if they 
have not suffered any alteration in colour, because j 
they have required a covering of some other ma- | 
terial, that their original lustre might be displayed, I 
which material has been proved to be objection- j 
able from subsequent imperfections. But if 
neither of these conditions have resulted from the 
employment of oil and turpentine alone , wh&t 
more can artists desire ? 

Let us suppose the first mentioned defect to 
have attended the use of oil and turpentine per 
se, to which of these two substances should the : 
mischief be mainly attributed ? Asa chemist, I 
should say to the oil , which may, under certain 
circumstances, materially influence the colours of 
certain pigments (particularly those in which pre- 
parations of lead or of bismuth may occur), 
through the development of gaseous vapours 
which are liberated during its desiccation. i 

Oil, in drying, must necessarily absorb oxy- ! 
gen ; it may, therefore, either deprive a pigment, 
consisting of a metallic oxide, of a portion of its 
oxygen, and thus modify its colour; or it may 
absorb the oxygen necessary for its solidification 
from the atmosphere. During this drying pro- 
cess, extremely disagreeable effluvia are known ( 
to escape, which effluvia have been proved to be ! 
competent to affect the colour of white lead very 
materially, whensoever a free current of atmo- 1 
spheric air is excluded. Every one must have no* 


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1842 .] 


THE ART-UNION. 


5 


OBITUARY. 


ticed the discolouration of recently painted white 
| wainscoting, &c., consequent to the suspension 
j of a picture or print, that had been replaced be- 
fore the painted wainscot had become thoroughly 
dry and hard. 

| Now, during the drying of oil there must na- 
turally exist a constant effort to disengage these 
offensive effluvia throughout the whole mass with 
which it may be incorporated, both within and 
without the external film which indicates incipient 
desiccation ; and as they cannot escape from be- 
‘ neath this film with very great facility, it may be 
imagined they are compelled to struggle for es- 
| cape in every direction before they can eventually 
become free ; and thus they may, even under fa- 
, vourable circumstances, act in some degree pre- 
! judicially upon those metallic pigments which are 
' the most susceptible of injury from such peculiar 
i gaseous emanations. 

1 Admitting all this to be so far correct (or even 
| plausible, if you please), then it follows that if 
oil must be used by artists, still the less they 
i can possibly use with convenience, the less all the 
practical or theoretical evils to which 1 have al- 
J luded may preponderate. Hence, probably, the 
, first introduction of turpentine as a diluent. This 
1 material, however, appears to have its utility 
confined within limits much too circumscribed. 

; A slight excess of it causes the pigment to flow 
too freely from the brush, and to dry without 
i brilliancy, involving the necessity of some subse- 
, quent covering that its original lustre may re- 
I appear. 

j From these, or from some such circumstances, 
the desire of obtaining some other conveniently 
j volatile diluent, readily miscible with oil, and 
possessing no injurious qualities, has arisen. Pure 
I water would naturally suggest itself to a reflecting 
i mind, provided it could be used ; and this, to- 
1 gether with the employment of only just sufficient 
| oil merely to cement firmly the various particles 
I which compose the pigment after the water has 
evaporated, would be all that could be required. 

• Bat how can this portion of water be intro- 
| duced ? It cannot be mixed with oil without the 
t intervention of some third substance possessing a 
1 property analogous to that of alkalies. An alkali, 

however, would be objectionable, as it would form 
I a species of soap that might never become suffi- 
j ciently hard, and that might be affected by mois- 
j ture; moreover, it might alter the colours of 
j several of the pigments in ordinary use. 

I Alkaline earths, such as caustic lime, although 
fulfilling some of the requisite conditions, would 

• he inadmissible for very evident reasons ; and so 
would any other earthy material which possessed 

j opacity, such as fullers earth, &c. 

What then will do ? Why, borax ; and few 
J indeed are the substances that can supplant it for 
this especial purpose. And here I will quote a 
I few authorities with a view to excite the interest 
I of those artists who would wish to associate some 
particular “ medium” with the works of the most 
i celebrated of the “ old masters.” 

1 Chaptal, in his “ Chemistry, applied to the Arts 
! and Manufactures,” published in 1807, has in- 
formed us that 

“The natron baurake of the Greeks, the borith of 
1 the Hebrews, the baurach of the Arabians, the boreck 
of the Persians, the burach of the Turks, the borax of 
the Latins, all appear to express one and the same 
substance. 

] “ The process for purifying borax was long confined 

I to the Venetians ; but the commerce with the Levant 
having been interrupted, in consequence of the war 
carried on for such a length of time between the 
, Turks and the Persians, the trade fell into the hands 
; of the Dutch, who continued to monopolize it until 

• very lately, when establishments of the same kind were 
formed in Paris.” 

In the “ Pharmacopeia Universalis,” published 
j by Dr. R. James in the year 1747, under the word 
Borax is the following passage : 

“These different boraxes are at present refined in 
Holland; bnt the way of doing it is not a secret only 
to the Dutch, for there is a private gentleman in the 
1 Fauxbourg St. Antoine, who did refine it, and deliver 
! it to the merchants as fine, and as pure as that of 
Holland. In this stAte of perfect purification it is 
, transparent like rock-crystal.” 

' Fourcroy, an eminent French chemist (whose 
' “ System of Chemical Knowledge” was translated 

1 into English, and published in 11 voLs. by Wil- 


liam Nicholson, in the year 1804), has written as 
follows : 

“There is nothing on which more inquiries have been 
made, than on the origin of borax; yet, perhaps, there is 
nothing even yet on which less light has been ob- 
tained. It seems as if the more ha3 been said and 
written on the natural history of this salt, the more 
have its source and origin been involved in obscurity.” 

Thomson has informed his readers “that it is 
supposed to have been known to the ancients, and 
to be the substance denominated crysocolla by 
Pliny and that “ it is mentioned by Geber as 
early as the ninth century under the name of 
borax.” 

Borax consists of an acid, called boracic acid, 
nnited to a base commonly known by the name 
of soda. Its chemical name is bi-borate of soda. 

It is a transparent crystalline substance, frag- 
ments of which resemble fragments of alum. Its 
crystals contain a portion of water, which may be 
dissipated by heat. In a state of purity, it has no 
tendency to attract or to absorb moisture, like 
that possessed by common salt ; nor has it any 
peculiar disposition to part with its water of crys- 
tallization when exposed to atmospheric influences, 
as do crystals of sulphate of soda and of carbon- 
ate of soda. When its water of crystallization is 
expelled by heat, it swells enormously, and be- 
comes an opaque, white, spongy, fragile mass. 

In this state it is called calcined borax. If the 
heat be continued, and also augmented, this 
spongy mass will gradually contract, and finally 
become resolved into a hard transparent gloss, 
which is not susceptible of further change by any 
increase of heat. 

Now, when borax has been converted into glass 
in this way, it is liable to a slight external altera- 
tion from atmospheric influences. Its surface 
will, after experiencing the vicissitudes of dry and 
moist air, become opaque to an extent quite suffi- 
cient to preclude it from any of the general uses to 
which glass is applied. 

Borax, both before and after fusion, is soluble 
in water ; but after it has been fused, it is much 
less speedily dissolved than unfused borax. The 
efflorescent spots which are often noticed upon 
the crystals of borax, are stated to be attributable 
solely to an adventitious mixture of carbonate of 
soda. Formerly all the borax which was em- 
ployed in the Arts was obtained, by a secret pro- 
cess, from the native crude Indian tincal. Of late 
years it has been manufactured in France, by the 
direct commixture of its component parts — bo- 
racid acid (obtained in abundance from the Lakes 
of Tuscany) and carbonate of soda (obtained by 
the decomposition of common salt). By this 
latter process the carbonate of soda is decomposed, 
and the bi-borate of soda formed, carbonic acid 
being set free. As it is an extremely difficult 
matter to conduct extensive chemical operations 
in such a way as to obtain absolutely pure results, 
a minute quantity of carbonate of soda may natu- 
rally be anticipated in the crystals of borax thus 
produced. Berzelius, however, has stated that 
the borax, thus artificially manufactured, is purer, 
upon the whole, than that which was formerly 
obtained from the native tincal. 

Such is the description of the material which 
has been recommended to artists by Mr. Rainier, 
and by my friend J. E., neither of whom has 
trodden, or pointed out, the nearest path to en- 
sure success. 

We have been told that the borax must be 
either calcined , or (which is still more cogently 
urged) that it should be thoroughly fused; and 
then, a certain quantity of this glass of borax must 
be ground to an impalpable powder, and well 
“ rubbed up” with a certain quantity of linseed 
oil. In this state the mixture is to be used, tak- 
ing a little upon the end of the palette knife, and 
mixing it with more oil, and water, ad libitum , 
and finally with the colours. 

[We are, very reluctantly, compelled to divide 
this valuable and important communication, with 
which we have been favoured by Charles 
Thornton Coathupe, Esq., of Wraxhall, near 
Bristol. We recommend it to the careful atten- 
tion of our readers, because it bears practically 
upon the various theories to which we have given 
circulation.] 


THE LATE SIR FRANCIS CHANTREY. 

We announced last month in a few words the 
death of Sir Francis Chantrey. The melancholy 
event occurred very suddenly at his own house 
in Pimlico, on the evening of the 25th Nov. He 
had on the previous day returned from superin- 
tending the erection of the statue of the late 
Bishop of Norwich ; a work that must be re- 
membered by all who visited the Royal Academy 
Exhibition of last year. Sir Francis com- 
plained much during the day of indisposition, 
but was, nevertheless, busied in directing the pro- 
gress of his various works. He attempted in the 
evening to walk, in company with a friend, to 
Buckingham Palace; but was obliged by acute 
suffering, to return home, where he derived 
temporary relief from a mixture administered 
to him by his medical attendant : he how- 
ever shortly afterwards fell back and expired 
while in easy conversation in his drawing-room. 

Sir Francis Chantrey had attained the sixtieth 
year of his age, and had he lived, years of fame 
were yet before him, for his latest works attest 
that his powers were in no degree impaired. How 
unprepared soever the world may have been for 
such an abrupt announcement of his decease, 
persons acquainted with his constitution were aware 
that he suffered from a^malady, whence a suddenly 
fatal result might be expected. It was stated on 
the inquest that he died from disease of the heart, 
uuder which he had for some years been labouring. 

But a few months have elapsed since we an- 
nounced the death of Sir David Wilkie. It is to 
be deplored that two men, each the most eminent 
of our school in his branch of Art, should be cut 
off within so brief an interval of each other. A 
strong parallel may be drawn between the fortunes 
of these gifted men; their early histories are si- 
milar ; indeed, the same as that of most men who 
have risen to distinction in Art. Without having 
seen any works of importance in the respective 
departments they were about to follow — and 
while yet even unacquainted with the mere manual 
rocess each was to adopt in his future profession, 
oth yielded to that mysterious and irresistible im- 
pulse bv which their future career was determined. 

Sir Francis Chantrey was born on the 7th of 
April, 1782, at Norton, in Derbyshire. His 
father was a farmer, but it was not intended that 
he should pursue the same calling. The legal 
profession was that which was determined upon 
for him, but, before bis indentures of apprentice- 
ship were executed, a predilection declared itself 
not directly for that department of Art which he 
afterwards adorned, but in favour of carving. In 
this bent he was indulged, and apprenticed at Shef- 
field to a carver, with whom he served three years. 
Bat the art of carving as he saw it executed 
at Sheffield, was not enough to fill the mind of 
Chantrey, he yearned for something beyond it — 
and therefore, occupied himself in modelling in 
clay during portions of the hours allotted to him 
for refection and sleep. His improvement was 
rapid, but singular enough, London was the last 
of the three capitals of our islauds wherein ho 
thought of trying to effect an establishment. He 
went first to Dublin, with a view of settling ; but 
meeting with no encouragement he proceeded to 
Edinburgh (which he shortly afterwards quitted), 
and finally established himself in London. His 
reasons for thus first turning his back upon the 
rand mart for all talent must nave been eccentric; 
ut be they what they might, they must have been 
strongly tinctured with diffidence of bis own merits. 
Undoubtedly, to many, the anecdote of Nolle- 
kens’ early patronage of Chantrey is known ; 
but as the first step in the fortunes of the great 
sculptor we cannot help repeating it here. Having 
executed a bust of John Raphael Smith, he sent 
it to the Royal Academy for exhition ; Nollekens 
saw it, and immediately declared that the author 
of such a work ought not to remain unknown. 
“ It’s a splendid work,” he observed; immediately 
adding, “let the man be known — remove one of 
my busts, and put this in its place.” This admi- 
ration of Chantrey on the part of Nollekens was 
sincere ; nothing, it is true, could have kept him 
in the back ground; but Nollekens assisted 
materially in basing the structure of his fortunes, 
for he recommended him always in his own pithy 
style when occasion served : “If you want a bust 
Chantrey’s the man.” Anecdotes might be 


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6 


multiplied of this celebrated artist, but they all 
turn on the universally acknowledged excellence of 
^ or * ta — and in these really is his life written, 
xt M » ntrey waa twenty-four years of age when 
Nollekens extended his friendship to him, and 
although at the head of his “troop of friends,** 
Chantrey was by no means in a solitary position, 
for the wealthy patrons of Art were not slow to 
acknowledge the merits of the young sculptor ; 
and their approbation was declared in a form so 
substantial, that he was at once commissioned for 
to an extent which rendered the execution 
of them embarrassing to one so suddenly plunged 
into the che fare of abundant occupation. Not 
until the year 1819, after having been elected an 
Academician, did Chantrey visit Italy ; he might, 
perhaps, have made this tour before with some 
advantage ; but it will be understood that he 
went not there to seek style, for his creed was 
fixed, and we have seen how faithful he has been 
to his earliest professions. After the rising of 
Chantrey*s star in the firmanent of Art, eight 
years elapsed before he was admitted to the 
honours of the Royal Academy, of which in 1816 
he was chosen an associate, and in two years after 
an academician. He was also a member of the 
Academies of Rome and Florence. 

The fame of Chantrey has been hymned in loud 
poeans for his monumental sculpture, not only 
throughout these kingdoms, but in all countries 
subject to British influence. His most celebrated 
sepulchral monument, entitled 4 The Sleeping 
Children,* is so well known as to require from us 
no particular discussion. This work is in the 
Cathedral of Lichfield, and was erected in memory 
of two children of the late William Robinson, Esq. 
Another exquisite work is the statue at Woburn of 
Lady Louisa Russell, daughter of the late Duke of 
Bedford— it represents a child on tiptoe, earnestly 
caressing a dove, which she is pressing to her 
bosom.* ^ Well known also to the world of taste 
is 4 Marianne* — a statue so entitled, represent- 
ing the daughter of Mr. Johnes, of Staf- 
ford ; and not less so is the devotional statue of 
Lady St. Vincent. An enumeration of any con- 
siderable portion of the remarkable works of Sir 
Francis Chantrey would demand more space than 
we are prepared to concede to such a catalogue 
in a notice brief as this must be ; a few, how- 
eyer, we cannot refuse ourselves the gratification 
of mentioning. Among his most admired are 
those of Washington, in the State House, at Bos- 
ton, U.S. ; of the Right Hon. Spencer Percival, 
in All Saints Church, Northampton; of Watt, 
the engineer, in Aston Church, near Birmingham ; 
of the late Francis Horner, in Westminster Abbey ; 
and of the Right Hon. William Pitt, in Hanover- 
sauare. Among his memorable busts were those 
of Sir Walter Scott, George the Fourth, Lord 
Castlereagh, Rennie, her Majesty, his Royal 
Highness Prince Albert, &c. ; the two last named 
were among the latest works he exhibited. It has 
been stated in the newspapers that a statue of 
Nelson was to have been executed for erection at 
Yarmouth. In the announcement of this statue 
it was described as intended to be of the height of 
130 feet ; and in the place of the star upon the 
breast, there was at night to be a light for the 

f uidance of vessels. It is not improbable that Sir 
rancis Chantrey may have been consulted on 
such a project, and may have discussed it, but it 
was assuredly not a work on which he was to have 
been so shortly busied, as implied in the state- 
ments that have gone forth on the subject. 

Such has been his state of health, that of late he 
has been able to do but little more than to super- 
intend the progress of his works after they were 
m ascertain state of forwardness, the completion 
of them being committed to other hands. The 
Wellington Testimonial for the City of London is 
in an advanced state, the head of the duke having 
been finished before he went to the country for the 
last time. To his accomplished assistant, Mr. 
Weeks, Sir Francis committed almost the entire 
execution of this colossal work ; and it cannot be 
doubted that the design will be felicitiously carried 
out by this rising sculptor. 


* The conception of these works, it is well known, 

does not belong to Chantrey : the statues were wrought 
from the designs of Stothard. 


THE ART-UNION. 


WORKS IN PROGRESS. 

THE PUBLICATIONS OF MR. F. G. MOOfN. 

Wk devote this month considerable space to the an- 
nounced publications of Mr. Moon ; they are so nume- 
rous and so important, that although we dedicate to 
them several columns, we shall, after all, be compelled 
to content him and ourselves with little more than a 
bare enumeration— sufficient, however, to direct to 
them the attention of our readers. 

It is a leading part of our duty to strive our utmost 
to uphold a publisher who manifests an anxiety, and 
exhibits a determination, to aid in the circulation only 
of what is really excellent in Art. The publisher is 
necessary to the painter ; he is the medium by which 
the world is to form an estimate of merit ; for a picture 
can be seen but by few— a print may, and will, gratify 
and instruct thousands. It is, consequently, of para- 
mount importance that we should co-operate with him 
in all his undertakings to improve the character, in- 
crease the reputation, and promote the welfare of Bri- 
tish Art, by improving, increasing, and promoting the 
public ability duly to appreciate it ; an effect which can 
be alone produced by tne issue of such works — and 
such only— as shall be calculated to advance the great 
and important object. The production of an inferior 
print does mischief, by deteriorating taste, by satisfy- 
ing with mediocrity, and by discouraging those who 
would willingly aim at higher achievements, if stimu- 
lated by success, instead of discouraged by failure. 
It is notorious that, in this country, some of the “ best 
selling” engravings have been very worthless things ; 
while some of the finest works of modern times have 
scarcely yielded enough to pay the printer. We are, 
however, on the eve of a happier era ; the publications 
now 44 in progress” are of a far better order than they 
were ; and sure we are, that ere long publishers who 
issue trash will be rewarded with bankruptcy, while 
those who furnish what is good will amass fortunes. 

This 44 consummation** has been, undoubtedly, 
brought about by some of our publishers ; certainly 
to a large extent by Mr. Moon ; and we do him only 
justice when we say, he is therefore entitled to no in- 
considerable degree of gratitude from both the artists 
and the public. We have before us his printed list of 
works published within the last four or five years; we 
shall offer them some notice before we direct attention 
to his 44 works in progress.** First, we reckon no 
fewer than fifteen prints after E. Landseer— engraved 
by Doo, Robinson, Gibbon, and Cousins ; consisting 
of works unrivalled in the department of Art in which 
Mr. Landseer excels. Next, we count eight after Wil- 
kie, including the beautiful print (engraved by Cou- 
sins) of the * Maid of Saragossa,* and a chef-d’oeuvre by 
Mr. Doo (whose valuable name appears nine times in 
the catalogue) * The Preaching of John Knox.* After 
Collins we have six ; after Eastlake, three ; after Con- 
stable, two noble landscapes; after Turner, three or 
four splendid works in line ; with others after Law- 
rence, Wyatt, Edmonstone, Webster, Bonington, &c. 

Yet this highly creditable and honourable list is but 
as the introduction to a more full volume. We have 
memoranda of twenty works of the very highest class- 
in varions states of finish — in course of preparation, 
several of which he is about to issue ; these we shall 
notice more in detail. 

1. The Queen’s First Council; painted by Sir 
David Wilkie ; engraving by C. Fox. As a record of 
one of the most interesting events of the age, this work 
cannot fail to become extensively' popular. Sir David 
was not a portrait painter; his; genius lay in idealiz- 
ing facts ; and this work will be chiefly valued for its 
grace of composition and success in grouping. In it, 
however, are introduced about thirty of the leading 
worthies of Great Britain in the nineteenth century. 
The form and features of the young Queen are beauti- 
fully and hapily rendered. From the burin of Mr. C. 
Fox it will receive ample justice. 

a. The Coronation of Her Most Gracious 
Majesty Victoria. Painted by E. T. Parris; en- 
graving by C. E. Wagstaff.— We have had occasion 
more than once to refer to this work ; it contributed 
greatly to elevate the character of the painter; it was 
a huge step in advance ; and in many respects deserved 
the high praise it very generally excited. The difficul- 
ties to be encountered were maDy ; and the skill with 
which they were overcome manifested powers of no 
common order. The likenesses are for the most part 
very striking ; each individual of the crowded group 
that surrounds the sovereign is recognized at once. 
The print will consequently be a valued acquisition to 
thousands of those who desire to possess a pleasant 


[Jan. 


record of the event ; and, in his style, there is no en- 
graver so able to render it justice as Mr. Wagstaff. 

3. The Queen Rbcbivino the Sacrament at 
her Coronation.— Painted by C. L. Eastlake, R.A. ; 
engraving by S. Cousins, A. R. A.— This work com- 
bines the excellencies of the two we have noticed ; as a 
composition it is exceedingly beautiful, and for fidelity, 
as a collection of portraits, it is certainly unsurpassed 
in modern Art. The group of fair young females— of 
the English aristocracy— in the foreground is espe- 
cially attractive ; and the figure of the Queen is in it- 
self a picture of the rarest merit. On the whole, per- 
haps, this will be the favourite of the 44 National 
Series” — commemorative of an event which we trust 
few of the existing generation will live to see repeated. 
The great advantage of this picture is, that although 
there are 38 portraits, each is sufficiently prominent. 

4. The Waterloo Banquet at Apsley House. 
Painted by W. Salter, Esq. ; engraving by W. Great- 
bach.— After-times will comment more upon this sub- 
ject than even our own age. Year after year the 
44 Heroes of Waterloo” are passing away from us, 
leaving the rich legacy of a glorious memory with 
which their names are inseparably linked, and occupy- 
ing for ever a fall page in the history of Great Britain. 
Even the chief of them all most one of these days— 
God make the period a distant one 1— belong to the past. 
We have, heretofore, spoken of this picture ; a perfect 
triumph of Art, if we refer to the almost insurmount- 
able difficulties to have been grappled with in treating 
the subject ; an assemblage of men only, habited 
pretty nearly alike; a preponderance of that unma- 
nageable colour to the engraver, scarlet ; a long table 
covered with gorgeous plate; the whole of the figures 
save one, sitting ; the absolute necessity for exhibiting, 
clearly, each portrait, and so grouping the whole, as 
to make something like a close approach to harmony. 
He was a bold man who undertook such a subject ; and 
if all the obstacles have not been overcome, Mr. Salter 
has gone, perhaps, as far to vanquish them as any 
living artist could have gone. The picture possesses 
the deepest interest, and may well be classed under the 
head 44 National.” For centuries to come it will be 
valued as the record of an event touching to every 
British subject, and as containing a collection of au- 
thentic portraits of the leading 44 captains of the age.** 
The engraving, too, is in safe handa. Hitherto Mr. 
Greatbach has produced no plate on a large scale, but 
he has given abundant evidence of his capability. 

No. 5. Sir David Baird discovering the Body 
of Tippoo Saib. Painted by Sir David Wilkie; en- 
graving by John Burnet. This picture was not a 
favourite at the exhibition; it contains some points, 
however, worthy of the admirable painter in his best 
days; and as commemorating an incident honourable 
to the glory and fame of Great Britain, it possesses 
very great interest. We rejoice to see again united 
the names of Wilkie and Burnet. 

No. 6. Columbus’s Discovery of America. 
Painted by Sir David Wilkie; engraving by H. T. 
Ryall. This is a picture of more universal interest ;— 
a touching subject so treated as to reach the heart. 
It describes the immortal 44 voyager” discouraged, 
beaten down, and broken in spirit, upon the eve of 
a more ausspicious prospect— a prospect afterwards 
realized to the great gain of humankind. Columbus 
is reasoning of marvels to come, with the friar, Juan 
Perez, the physician Garcia, and the sea-captain, Mar- 
tin Alonzo Pinzon, from each of whom he receives 
hope, in the Convent of Santa Maria de Rabida. His 
son Diego is standing to his left— a beautiful point in 
the picture. It is, indeed, a delicious work, a fine 
reading of history, and a valuable lesson to excite per- 
severance. The print will be a worthy associate of the 
best after the great master. 

No. 7, 8, 9. In the list, follow three portraits— of 
two great men, and one beautiful and accomplished 
woman. The late Lord Chancellor, Lord Cottrn- 
ham, from Leslie’s portrait, and Lord Lyndhurst, 
from that of W. C. Ross. Both eminent lawyers ; and 
one ranking among the most eminent statesmen of the 
age and country ; a likeness of whom will be accept- 
able to thousands. The Countess of Burlington 
was (for unhappily she is dead) sister to the Duchess of 
Sutherland and the Lady Dover. 

No. 10 and 11. The Queen and Prince Albert, 
from Mr. Partridge’s two pleasant portraits; the 
former engraving by Robinson, the latter by Doo. 

No. 13. Christ Blessing Little Children. 
Painted by C. L. Eastlake, R.A. ; engraving by J. H. 
Watt. No onewhoh&s seen can have forgotten this 
exquisite work ; there will be as many to rejoice that 
copies of it are to be multiplied. The age has given 


Digitized by C joogle 


1842 .] 


birth to nothing more) perfect ; more sublime in con* 
ception, or more truthful in arrangement. It is a 
great matter, too, to have it placed in the hands of Mr. 
Watt— who ranks among the foremost of our English 
line-engravers. 

No. 13. Christ Wbepino over Jerusalem. 
Painted by C. L. Eastiake, R.A. ; engraving by S. 
Cousins, A. R. A. And will not this be an acquisition 
to every veritable lover of the Arts, who can feel what 
is beautiful and appreciate what is excellent ! The re- 
membrance of this noble picture is refreshing to us— 
the chief of a thousand it was in the Gallery of the 
Royal Academy; one that threw into obscurity all 
lesser lights— lights that would have been brilliant else- 
where. In characterizing it, we could use no language 
that would seem exaggerated to those who are familiar 
with the picture. No work of modern times has gone 
so far to convert the craving for old Art into a more 
natural and wholesome appetite ; or to induce a convic- 
tion that what has been done may be done again. What 
a glorious theme for the poet as well as the painter — or 
rather what a sufficient reading of the divine prophecy ! 

The multiplication of this noble work is in truth a 
public benefaction ; for it will make Art subservient 
to the high purpose of teaching, while yielding the 
purest gratification and enjoyment. 

No. 14. La Svbgliarixa. Painted by C. L. East- 
lake, R.A. ; engraving by J. H. Watt.— This also will 
lie remembered as one of the leading attractions of the 
exhibitions of 1840. It is a delicious cabinet picture 
of a young woman with a child. 

No. 15. The Cotter’s Saturday Night. Painted 
by Sir David Wilkie, R.A. ; engraving by L. Stocks.— 
This work was exhibited at the same time, and in the 
same room, with the * Sir David Baird the one was a 
picture of great sue, the other not too big for a cot- 
tage ; yet there were many who preferred the smaller 
to the larger— giving, as it did, once again to the world 
the accomplished painter with the fine natural feeling 
of his earlier days. It describes a pure and beautiful 
episode in peasant life— fitting illustration to an im- 
mortal poem. Less full of character than Sir David’s 
first works, but infinitely more so than his later pro- 
ductions ; forming as it were a medium between his 
original and his matured genius. 

No. 16. Twelfth-Night; or, What you Whll* 
Painted by E. Landseer, R.A. ; engraviug by J. H. Ro- 
binson. — We remember this sweet and graceful picture 
as the leading gem of an exhibition, although we can- 
not call to mind the applicability of the title it has re- 
ceived. It is a portrait of the Marchioness of Aber- 
corn in a masquerade dress. 

No. 17. Napoleon and the Pope. Painted by Sir 
David Wilkie, R.A.— Another of Wilkie’s historical 
pictures. It has not impressed itself upon our memory 
sufficiently to enable us to describe it ; and the etching 
we were not enabled to examine. 

Nos. 18 and 19. Ancient Italy ; Modern Italy. 
Painted by J. M. W. Turner, R.A. ; engraving, the 
former by Willmore, the latter by Miller.— These works 
are of promised excellence, equal to aught that has 
been produced in the British school of landscape en- 
graving. The accomplished painter is not “ in vogue” 
of late ; be does not stand as he has done, alone and 
unapproachable ; and his pictures have been engraved 
so often, that one too strongly calls to mind another. 
But these will be noble works and worthy of the artist. 

No. 90. A series of Etchings and finished Plates to 
Ulnstrate Deer Stalking in the Highlands; 
painted by E. Landseer, R.A. This series will consist 
of plates etched by Mr. Landseer himself; and several 
prints from the burins of Robinson, and other eminent 
engravers. We have already exceeded our limits ; and 
must content ourselves with observing, that the work 
will be one of the most interesting that has ever been 
published ; and with claims to public patronage sur- 
passed by none. 

We have thus noticed Mr. Moon's list ; a famous 
one it is ; nearly the whole of these works are to be in 
line ; and are in the hands of engravers of established 
reputation ; and, as we believe, we have referred to all 
actually in progress, it will be observed that there is 
not a single one that can be classed under the head 
mediocrity. We feel that apology is unnecessary for 
devoting so much space to this subject. As we have 
said, in upholding the publisher of good works, we 
uphold the painter of good works, and the engravers 
most competent to copy them ; in supporting his in- 
terests we support theirs. There is no way better calcu- 
lated to advance the true interests of British Art. 


THE ART-UNION. 


SOCIETIES IN CONNEXION WITH ART. 

The Graphic Society held their first meet- 
ing for the season early in December. There was 
a numerous assemblage of members and visitors, 
among the latter of whom we noticed Lord 
Palmerston and Sir Robert Inglis, Mr. Babbage, 
&c. The evening was one of the most agreeable 
we remember to have passed at this interesting 
reunion of able men. Some of the works of 
Art contributed for the inspection of those pre- 
sent were exceedingly attractive. Mr. Bell the 
sculptor produced a series of designs abounding 
in original ideas and full of talent. A portfolio of 
Rembrandt’s etchings afforded that pleasure which 
so valuable a collection of the great etcher’s pro- 
ductions cannot fail to excite. A painting of 
Venus and Mars, by Mr. Etty, presented one of 
the most delightful combinations of colour and 
design we have ever seen from his brush. The 
figure of the Venus possesses truly graceful lines, 
and the colouring of the fiesh is, as usual with 
him, exquisite. Specimens of the litholini — the 
new process of Mr. Hullmandel, which offers 
such peculiar facilities for the multiplication of 
fac- similes of ancient artists’ sketches— were also 
produced, and, as might be expected, attracted no 
small share of attention. We were particularly 
struck by the brilliancy and effectiveness of the 
lithotints by Mr. F. Tayler and Mr. Nash. 
Mr. Me Ian contributed an immense number of 
sketches in water colour, which he has been 
making in his native Highlands; and A collec- 
tion of real interest they form indeed. Inde- 
pendently of the graphic power which this gen- 
tleman possesses, there is in his transcripts of 
nature an evident truthfulness, which adds much 
to the value of his work ; and thus we wandered 
with him through mountain glens, peeped into 
the picturesque interiors, and lookea at the gray 
legend-bearing castles, with the peculiar interest 
inspired by the conviction of their reality. Mr. 
Me Ian has brought to the delineation of his 
Highland scenes the same high degree of talent 
with which, in another art, he represents the 
characters who people them. 

Artists’ and Amateurs’ Conversazione. 
— On Wednesday, 1st ult., was held, at the Free- 
masons’ Tavern, the periodical assembly of the 
profession, and gentlemen friendly to the progress 
of Art. The room was by no means crowded, 
nor were the works exhibited numerous ; but 
many were of the first order of merit in the vari- 
ous departments. There were only two or three 
pictures in oil ; and these we cannot pass by with- 
out a word in praise of the admirable feeling and 
execution of Frith’s 4 Dolly Varden;’ a single 
figure, painted with infinite delicacy in the flesh, 
and crispness and freedom in the drapery. W T e 
were much gratified in being enabled to refresh 
our recollections of Haghe’s extraordinary water- 
colour picture, ‘ The Oath of Vargas,’ contributed 
by Messrs. Graves and Co. The engravings were 
few ; but of such as were hung on the walls we could 
have wished to have seen more, for no power of 
eulogy can truly describe their excellence. There 
was a work by Aristide Louis, from a portrait of 
Napoleon, by Paul Deiaroche, painted during the 
Hundred Days, and executed in line in the very 
perfection of that manner. The extreme sharpness 
of outline prevalent in French engraving, does 
not, in this specimen, exist to affect in anywise 
the harmony of the composition. There was also 
shown the finest proof we have yet seen of 4 The 
Highland Drovers.’ Engraved by Egan, there 
was a work, entitled 4 Old English Hospitality,’ 
from a picture by Cattermole, partaking of every 
charm of that artist’s pencil, although in some 
sort departing from the peculiar style — the unique 
handwriting by which we geneally recognise him. 
We cannot omit mentioning a most valuable 
French work, contributed by Messrs. Graves and 
Co. : it was entitled 4 Les Anciennes Tapisseries 
Historices and consists of an engraved selection 
of French tapestries, dating from the eleventh to 
the sixteenth century inclusively ; and commenc- 
ing with the well-known tapestries of Nancy and 
Bayeux, and terminating with those of Rheims. 
The engravings are on wood and copper ; and no- 
thing that we have ever seen could form so valua- 
ble an authority for costume as this work, which 
is the result of great care and labour. 


7 


PLAN FOR EXTENDING THE ADVANTAGES OF 
AN EXHIBITION ROOM. 

The importance of removing from hanging com- 
mittees the onus which, under existing circumstances, 
attaches to the duty, of avoiding the occasionally, 
just censure of artists, whose works may be unfavour- 
ably, if not unfairly placed ; and (what is of infinitely 
more weight than either) of giving to the public at large 
the advantage of inspecting conveniently the whole, 
instead of, with some personal annoyance, snatching 
glimpses at about one quarter of the works hung in a 
gallery of pictures— have induced us to republish with 
some valuable improvements, the annexed plan for 
arranging an exhibition room, and extending the avail- 
able space upon its walls, for the exposition of works 
of Art. It had been supplied to us by Mr. J. B. Pyne, 
the distinguished landscape painter. 

A conviction of the present very inadequate and unsa- 
tisfactory mode of showing pictures in a public gallery, 
is as general as the wish for some arrangement by 
which a work may be approached, and seen conve- 
niently for a sufficient length of time, to enable the 
connoisseur to determine with something like cer- 
tainty upon its character; it is notorious that this 
cannot now be done, even with pictures placed at the 
height of the eye, without alternately practising and 
becoming the object of a discourtesy so gross and 
palpable, that it would not be tolerated in a cottage, 
though necessarily practised indiscriminately by all 
classes of visitors in an exhibition room. The eti- 
quette even of the street, with its 44 wall” and its 
curb-stone, surpasses that of the picture gallery. 

As this is the case with pictures hung in places 
of honour, what must become of the unfortunate 
works which lie sweltering in the tropics of a dusty 
floor, or bang in the 14 eternal snow region” of three 
tier above the line ; and yet this anomalous state of 
things exists in all exhibition rooms arranged after the 
present manner— if arrangement be a proper term to 
give to such a melancholy disposal of objects. 

Pictures on the line are now, in a full room, examin- 
ed through the openings afforded by an occasionally 
moving and halting line of figures, who in self defence 
take a position of such proximity to the canvasses as 
forces them into an inch by inch examination of that 
which could only be appreciated from a distance of 
from three or four to six feet, while between their 
ancles glimpses may be occasionally caught of what 
is placed on the floor ; and the only works of which 
there remains an uninterrupted view, are those placed 
on the upper portion of the walls, the part of a room to 
which very few direct their attention— as in the very 
position exists an implied censure, and as the height 
and distance preclude the arriving at any correct 
opinion as to the merits or demerits of the class of 
pictures generally painted in this country. 

The broad advantages of Our Plan must be at once 
apparent from the diagram that accompanies this 
article. Not the least of its recommendstions is that 
which removes the desert-like character of the centre 
of a large room devoted to pictures, with its complica- 
tion of nearly empty seats, dotted only with an occa- 
sional solitary figure straining after the equivocal or 
at least ambiguous beauties of the far away and most 
elevated works. 

The few following remarks will elucidate more par- 
ticularly the advantages to be derived from the adop- 
tion of the proposed Plan. 

It is assumed that the platform, from which to exa- 
mine the upper 44 line,” with its brackets and centre 
stand would, by a proper diversion of the company from 
the lower floor, leave that part of a room less crowded, 
and the pictures on the old line quite free enough foi 
convenient inspection. This of itself would be achiev- 
ing a great improvement, and it would be difficult tc 
conceive a situation more felicitous for examining pic- 
tures on the lower line, than that within the influence ol 
the shade thrown from the brackets. The figures, num- 
bers 5 and 6, would enjoy all the advantages of this ar- 
rangement, undisturbed by a single ray of light to dis 
tract the vision. Dark tubes in this part of the room 
would be useless, and the very injudiciously white ca 
talogue would be deprived of its glare. 

No. 5 shows the greatest distance that a person couU 
take in viewing this lower line to be 11 feet. 

The picture opposite to him is 4 feet high, and 6 fee 
long. Such a distance would be more than necessary 
even for judging of broad eflects. 

It is suggested that raising the lower tier ( 4< th 
floored pictures”) on a step would answer all the pur 
pose of protection from feet, contemplated in the in 
traduction of a rail. In the place of which a broke 


Digitized by Lr.OOQle 


line of seats would enable persons, in the situation of 
the inclined sitting figure, to pore over, at leisure and 
uninterruptedly, whatever of consequence may be 
found in this second-rate situation. 

We now turn our attention to the platform (No. 1), 
the principal feature in the plan. 

The facilities here offered are most extensive, per- 
fectly novel, and desirable, as self-evident. Once on 
its floor, at nn elevation of only 5 feet (disregarding the 
brackets and stand), the available space of the walls of 
any room is at once doubled, or rather trebled, inas- 
much as the old line presents a picture of 4 feet in 
height, and this one of 16. The full length portrait, a 
painting which has never been properly exhibited in 
this country, and the large historical work, are here 
placed, for the first time, immediately before the eye. 

To descend to particulars : Nos. 7, 8, and 9 show the 
different circumstances under which a picture, No. 10 
(16 feet in height), may be examined. 

No. 7, by a gentle inclination of the body, may ap- 
proach to within 9 feet of the canvass, or leaning still 
more to within 8 feet, while the eye is at a right angle 
to its surface, at a third of its height ; and No. 9 may, 
for more general purposes, take a distance of 27 feet 
from its base, or 24 feet from its nearest point, or right 
angle, allowing this inclination of such a picture ad- 
missible; thus presenting a choice of any distance not 
less than 8 or more than 27 feet, for inspection of a 
grand work. 

A great advantage attending the position assumed 
by No. 7 is, that no possible interruption can occur 
from the passing, repassing, or halting of any one be- 
fore him— a state of things of all others to be desired 
in a picture gallery. (See No. 10.) 

In the event of the stand being rejected, the centre 
of the platform may be made available for small 
sculpture, or, indeed, any sculpture of single figures 
not larger than life, which would shed a brilliant and j 


imposing effect over this part of the room ; and should 
the light be considered too strong, anything in the way 
of a semi-transparent awning or medium could be 
introduced, ranging within the limits of the lines 3 
and 3, regulated only as to height, and consequent 
width, by the dimensions of the picture No. 10.* 
Having said that this mode of arranging a gallery 


♦The room is here assumed to be 40 feet wide by 60 
feet long, and 28 feet only in height ; though any other 
dimensions not less than 30 wide would be equally 
available. 

No. 1. This platform is 5 feet high only, offering all 
the advantages expected from such an arrangement ; 
its sides and ends removed 12 feet from the walls, and 
has a clear floor of 15 feet wide by 24 long, allowing 6 
feet for each approach by six steps, indicated by the 
lines. 

The stand running down its centre is equal to the 
accommodation of 24 pictures, which with their frames 
shall measure 2 feet by 1 foot 6 ; or 30 upright pic- 
tures measuring, with their frames, 18 inches by 14. 

No. 2. Two sets of these brackets would receive, and 
that in a most advantageous light and position for in- 
spection, either 16 small half-lengths in 5-inch 
frames, 20 kitcats, 22 three-quarters, or 30 pictures 
measuring 20 inches by 16, in 4-inch frames. 

No. 3. These dotted lines show the last rays of light 
that can enter from their opposite sides, and that the 
shadow thrown from the brackets commences only with 
the floor. 

No. 4. That the body of light flowing from the cen- 
tre would very materially illumine the floor thus far. 

No. 10. That the inclination of a picture is of some 
considerable importance this diagram proves ; as in 
this instance, the inclination removes that point of the 
work which forms a right angle with the eye of the 
spectator. 


would confer benefits upon Art, as well as the public 
and artists, it may not be improper to adduce some 
grounds for such an opinion : they are very simple, 
and easily produced. 

In the first place, while there exists no places for the 
reception of historical and other large pictures, there 
will be no such pictures produced. 

Taking a retrospective view of Art, it must be felt 
that temples had been erected to the gods long before 
the almost immortal sculptures were produced for 
their embellishment by the ancients ; and that bad not 
churches and monasteries afterwards existed under 
the sway of Christianity, the works which now consti- 
tute the glory of the extinct foreign schools, would not 
have been produced. Therefore, keeping those cir- 
cumstances in view, the probability is, that after creat- 
ing & field for their display, the present race of artists 
will produce as successful works in the higher styles 
(to which something like magnitude seems essential) 
as they have already in the poetical, familiar, and 
domestic styles. 

It is fairly to be supposed that from the adoption of 
this plan, the railing against hanging committees would 
cease, and the labour of hangiug be abridged full half. 

There would be no favours to grant, therefore the 
exercise of favouritism would as a natural conse- 
quence expire, and an artist, in any instance of failure, 
would have to lament only, that his work was too well 
seen ; whilst the public would have to congratulate it- 
self on the newly acquired privilege of seeing the whole 
in lieu of one-fourth of the pictures in a gallery. 


No 7. From 18 inches, to a third of the whole height, 
and in the instance of the spectator. 

No. 9. From 18 inches to two thirds of the whole 
height of a picture measuring as much as 16 feet. 


Digitized by boogie 



THE ART-UNION. 


9 


1842 .] 


THE ARTS IN CONTINENTAL STATES. 

ITALY. — Rome. — Sculpture. — A beautiful 
statue of a ‘.Nereid bending over a Stream* is now 
to be seen in the studio of M. Wolff, which was 
ordered by Prince Albert when he visited Rome. 
It is a classical, graceful work. 

M. Von Waagner. — Great regret is felt here at 
the departure of M. Yon Waagner. His love of 
and knowledge of Art made him be regarded as a 
sort of oracle; and his valuable collection of books 
and prints was most liberally accessible to many, 
to whom also his instructive and pleasing conver- 
sation offered no common enjoyment. He has 
■ returned to Munich, to fulfil his duties as secre- 
tary of the Academy. 

j Florence. — Monumental Sculpture. — Barto- 

lini, the Professor of Sculpture in the Ducal Aca- 
demy, has finished a bust of the celebrated actor 
Vestris, recently deceased : it is in white marble, 
and of exquisite workmanship ; the resemblance 
is perfect. Bartolini has presented it to the friends 
of Vestris, to be placed on a monument they are 
now erecting to his memory in the famous ceme- 
tery of Bologna. The design for the monument 
is by Antolini ; it is to be executed by the pupils 
of the Academy of Fine Arts. 

Bologna. — Bibliography. — There has been re- 
cently published a new historical eulogium on the 
celebrated ancient painter, Innocenzo Francucci, 
called “ Innocenzo da Imola/* illustrated by por- 
, traits and various engravings. The author of this 
elegant and most correct work is Tiberio Papotti, 
known by his various biographical labours, 
i FRANCE. — Paris. — Works of Art purchased 

by Louis Philippe and by Government. — Our 
readers may probably recollect that Louis Philippe 
was on board the steam-packet, Le Veloce, during 
a violent storm at Dunkirk. This circumstance 
is the subject of an interesting picture by T. I. 
Robins, painted with much truth of effect and 
brilliancy of style and colouring. This picture 
the King has ordered to be purchased for the 
Royal Museum at Versailles. — The Minister of 
the Interior has purchased various statues for the 
National Museum, namely — 1 The Odalesque/ 
by Pradier ; * Disenchantment/ by Jouffroy ; 
‘ The Fawn/ by Brian ; * The Andromeda/ by 
Lescorme ; ‘ Virgil's Shepherd/ by Aligny ; also 
he has purchased * Souvenirs des Environs de 
Bade/ by Marandot de Montegel. The continual 
purchases by the French Government are cer- 
tainly a great means of encouraging artists, ma- 
terially speaking ; and morally, it is a sure mode 
of advancing Art. The Minister of the Interior 
has also placed in the Musee Ceramique at Sevres 
two beautiful vases of terra-cotta, found at Pro- 
piano, in Corsica. 

Judgment of the Committee on the Models for 
the Monument of Napoleon. — The following is 
said to be the report : — The committee began tneir 
labours by selecting eighty of the models — this 
number they reduced to nineteen for examination, 
and again from those nineteen they selected four — 
their final decision was, that not one of the models 
completely fulfilled the conditions of the program. 
The committee, therefore, having excluded all the 
models presented, resolved to propose to Govern- 
ment to issue a new program, with different con- 
ditions, to be the subject of a new competition. 

Louvre Exhibition for 1842. — All works for ex- 
hibition must be given in by the 26th of February. 
The gallery of the Louvre, for modern works of 
Art, opens on the 15th of March. 

The Academie des Beaux Arts has elected Mr. 
Cockerill, Professor of Architecture in the British 
Royal Academy, a foreign member, in the room 
of M. Antolini, of Milan, deceased. 

M. P. Delaroche' s Frescoes. — Publicexpectation 
was so highly raised in regard to this work, that, 
perhaps, we can hardly give it greater praise than by 
saying, that all that was anticipated has been more 
than realized ; and that in our memory no picture in 
the grand style, by a living artist, has excited the 
same interest, and the same admiration. It is 
long since, on entering the exhibition of modern 
artists in the Louvre, we have observed that 
around the pictures of M. Delarochea little crowd 
was always collected — of which we willingly made 
one. This popular attraction was due, besides 
the merit of the execution, especially to thfe rich 
and poetic mind which inspired the pencil of the 


artist ; and certainly the fine inventive genius of 
M. Delaroche was never more triumphant than in 
the composition we are now going to describe ; so 
admirably adapted to the purpose intended ; and 
trading a subject so difficult, that to escape utter 
failure, no ordinary genius was requirea. Our 
readers will judge for themselves, as far as inven- 
tion is concerned, how well M. Delaroche has suc- 
ceeded : it is all that description can convey. The 
hall which contains this picture is in the new 
palace of “ Les Beaux Arts,” and is appropriated 
to the distribution of prizes to the students in 
painting, sculpture, architecture, and engraving. 
Its form is a hemicyle, and the surface covered by 
the frescoes is about fifteen metres in length, by 
five in height : there are seventy-four figures in- 
troduced. The picture commences from the last 
row of benches for the students, which are ar- 
ranged round the semi-circular part of the room, 
and rises to the vault of the ceiling. The fore- 
ground figures are about a third larger than life. 
The artist will appreciate the technical difficulties 
unapparent to other eyes in the distribution of the 
point of sight which M. Delaroche has judiciously 
multiplied, as in a panorama, in a work like this ; 
suffice it to say, the perspective of the whole is 
perfect and satisfies the eye. In the centre rises, 
but a little in the back ground, an Ionic temple, in 
front of which is a throne, on which are seated 
Apelles, and on either hand the architect of the 
Parthenon and the sculptor Phidias. These figures 
are naked to waist ; the character of the counte- 
nances calm and majestic ; and the whole of the 
group is expressive of a severe and simple style : 
we may regard them as the judges presiding at the 
tribunal of Art. A little further advanced appear 
four allegorical figures— representing ancient Gre- 
cian Art ; Roman Art ; Art in the middle ages ; 
Art after its revival in the fifteenth century : — of 
these all are appropriate. We especially admired, 
for its simplicity and truth, the graceful but 
elongated form, with her rich vestments and mea- 
gre stiff draperies, representing early Christian 
Art. She looks like a sculptural form escaped 
from the cathedral, the model of which is at her 
side; but on the whole, in a work where there is 
so much of reality, we might have wished the 
subject could have been treated without allegori- 
cal personages — had it not been for one charming 
creation — the beautiful being who symbolizes 
modern Art. We mean Art after the renaissance, 
free and graceful, like nature herself, glowing 
with the spirit of life — Italian life if you will. In 
front of these four female figures is another; and 
in this who but must admire the graceful inven- 
tion which so elegantly combines the past with 
the present. This last is as it were the key-stone 
of the whole; the point of union between the 
solemn assembly of the great departed who sit in 
judgment, and the living crowd who wait to re- 
ceive their award. This female figure is distribut- 
ing wreaths ; and she is in the act of throwing one 
out of the picture. To the right and left of the 
tribunal are disposed in animated and varied atti- 
tudes of action and repose, the architects on one 
side, and the sculptors on the other ; and it is 
wonderful what interest and variety M. Delaroche 
has given to the whole of these groups. Among 
the sculptors we note — John of Bologna, with 
Puget and Germain Pillon ; Pierre Bontemps, the 
artist of the tomb of Francis the First ; Benvenuto 
Cellini, walking alone, looking contemptuously 
around ; Peter Fischer, the great German sculp- 
tor, is with Baccio Bandinelli and Benedetto da 
Maiano ; while the principal group of the whole 
is formed of those truly greatest in their art. 
Donatclli and Ghiberti, with one who rendered it 
good service in first deviating from the Gothic 
style; Andrea Pisano and Lucca della Robia. 
On the other side of the tribunal— to the right — 
the great architects are grouped. Near Brunel- 
leschi, Bramante, and Balthazar Peruzzi, are | 
seated the architects of the Cathedralof Amiens and 
that of Florence, who flourished about the same 
period, early in the thirteenth century. Robert j 
de Luznrches and Arnolfo di Lapothan follow j 
those of later times, of almost every country but 
England, whose Inigo Jones and Christopher 
Wren appear to us strangely forgotten. Beyond 
the architects and sculptors are placed the paint- 
ers in two groups, one of which we may distin- 
guish as the great masters of form, and the other 


of the great colourists. Over this latter group, 
which is to the left, the artist has poured a won- 
derful splendour of brilliant colouring and rich 
costumes. Rubens is seated with Vandyke, 
while Titian seems to explain some subject to 
them ; around them are assembled Murillo, Velas- 
quez, Michael Angelo, Caravaggio, Paul Veronese, 
Van Eyck, the great master of colour in the Ger- 
man school ; Bellini, the originator of the bright 
splendour of the Venetian. These all appear to 
listen— so also does Correggio — in front are 
Georgione and Antonio di Messina. The cor- 
responding group on the right presents the 
painters of Form — a more severe and classic 
school— and treated to our taste, perhaps, less 
happily than the other. Raffaelle, in youth, stands 
near Leonardo da Vinci seated, an old man — they 
are conversing together. Raffaelle seems to listen 
with respect ; but, as M. Deleclouse justly ob- 
serves, he seems as if he also thought for himself, 
and could differ from his instructor. Fra Barto- 
lemeo, in his Dominican habit, is also listening; 
and near are Albert Durer, Pietro Perugino, and 
many others ; nearer Leonardo we recognise 
Masaccio ; and apart from all, communing as it 
were with his own thoughts, is seated Michael 
Angelo, he who opened new paths in painting, 
architecture, and sculpture, great in all ; also alone, 
with a contemplative expression, stands Poussin. 

We cannot conclude without remarking the 
beautiful unity of design and the entire harmony 
of thought which pervade the whole of the work, 
all conduce to one object, easily understood, and 
most happily varied in its expression — the mind is 
interested, and pleased without fatigue. The light 
is also so admirably disposed, that, we believe, 
nowhere can be found a more advantageous ar- 
rangement in that respect ; indeed, the architect, 
M. Duban, and the painter seem to have tho- 
roughly understood each other ; the work of each 
mutually heightening the charm of the sister Art, 
from the dark ground beneath the picture to the 
light and beautifully designed vault and cupola 
above. We leave to time and the world’s judg- 
ment duly to decide whether the work of M. Dela- 
roebe has excelled the frescoes of Schnorr and Cor- 
nelius, as the Parisians consider it to have done. 

On this subject we may further add from ano- 
ther source. ‘ The Apotheosis of Art' is, we 
think, the true and deserved title of M. P. Dela- 
roclie’s astonishing picture, fitly placed on the 
walls of the hall devoted to the distribution of 
prizes to students of the Fine Arts. Crowds throng 
daily to admire it ; and amongst this crowd was 
seen the celebrated rival of M. Delaroche, M. 
Ingres, who came with his scholars to see this mas- 
terpiece of the French school. M. Delaroche was 
also there with his pupils ; and we have been told 
that on meeting, M. Ingres cordially embraced M. 
Delaroche, and, measuring with his eye the vast 
extent of this glorious picture, he said to his 
pupils, “ Voila de la grande peinture." M. P. 
Delaroche is created a peer of France. 

BELGIUM. — Brussels. — Metallurgical Ar- 
chitecture. — Amateurs are admiring the model of 
an elegant house entirely made of cast-iron, the 
work of M. Rigaud. It is an edifice of three 
floors, with seventeen habitable rooms. The 
weight is 810,000 killogrammes ; the value 28,000f. 
The house can be moved at once by the railroad to 
Ghent or Antwerp, the expense of transport being 
500f. 

PRUSSIA. — Berlin. — MM. Steuben and 
Forster. — The King has sent the insignia of the 
Order of the Red Eagle, third class, to M. 
Steuben, the painter ; and to the engraver, Mr. 
Forster. 

P. Cornelius. — Peter Cornelius is again here, 
after his short visit to England, which was sad- 
dened by the death of his intimate friend, Lord 
Monson. He means, however, at the request of 
the mother of Lord Monson, to complete the 
order he had received, to paint some frescoes for 
his house at Gatton Park. The drawings for this 
work he will prepare here. 

AMERICA. — Washington. — The statue of 
Washington, the work of an American artist 
named Greenough, has been received from Italy, 
and placed in the Rotunda of the capitol. 


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10 


THE ART-UNION 


[Jan. 


THE ART-UNION OP LONDON. 

We mentioned some time ago that the committee 
of this extensive and valuable Association, anx- 
ious to advance the interests of the Arts, had ap- 
pointed a sub -committee to consider the future 
prospects of the Association, and the most efficient 
mode of working its enlarged means. The com- 
mittee so appointed entered into correspondence 
with Messrs. Eastlake, W. Wyon, R. Westma- 
cott, G. Rennie, M.P., J. D. Harding, F. Hurl- 
stone, H. Warren, Copley Fielding, T. Uwins, 
W. Brockedon, and many other equally eminent 
men, with a view to assist their deliberations, and 
have given much consideration to the subject. 
They have recently made a report to the gene- 
ral committee, which, although not intended for 
distribution, displays so much ability and such 
careful investigation of a variety of propositions, 
and is calculated to effect so much good by leading 
the public to contemplate properly the important 
purposes of the Fine Arts, that we do not hesi- 
tate to transfer a great portion of it to our pages. 

Furthermore, it is valuable as an exposition 
of the broad and enlightened views witn which 
the committee of the London Art- Union seek to 
carry out its objects, and cannot fail to inspire ar- 
tists with much confidence, and to obtain for the 
authors of it the thanks which they undoubtedly 
deserve for their laborious and disinterested efforts. 

It commences by setting forth their anxious 
desire to carry out the views of the committee in 
ascertaining the best mode of encouraging the 
Fine Arts of this country : — 

" As regards the public, this seems the most likely 
to be effected by directing general attention more im- 
mediately to the Arts of Design, by inducing all 
classes to take an interest in their encouragement, by 
leading them to consider the Arts in the most elevated 
and useftil point of view, and thus gradually cultivat- 
ing and instructing the public taste. This is a most 
important consideration, for the pleasure derivable 
from the contemplation of the productions of the 
painter, sculptor, or architect, will always be in propor- 
tion to the knowledge which exists of those branches 
of art, and to the opportunities of observation afforded 
to the public. In reference to the Fine Arts them- 
selves, and the intelligent and gifted body of men who 
have devoted themselves to their study and adopted 
them as a profession, your Committee have felt with 
you, that it is desirable to offer the greatest possible 
stimulus to produce works of the very highest class, 
both as to subject and execution ; to ensure to every 
department all the encouragement within the power 
of the Society to bestow ; and to bring before the pub- 
lic notice, as far as they can, those classes of the Sister 
Arts which, although hitherto little regarded in this 
country, may tend to increase its reputation, and to 
enlarge the sphere of intellectual enjoyment in every 
grade of society. 

“ It appears by the report presented at the last 
neral meeting, that the number of subscribers has 
en progressively increasing ; that, in fact, each year 
has very nearly doubled the amount of the subscrip- 
tions of the one preceding. The receipts of 1841 were 
^5600. Judging, therefore, from past experience, and 
the information which we nt present possess, we may 
reasonably expect that the subscriptions for 1842 will 
amount to ^10,000, and that ultimately a settled in- 
come of at least ^20,000 will be at the disposal of our 
Institution for the benefit of Art. 

****«« 

“ It is probable that the annual amount realized by 
artists from pictures 6old at the exhibitions, and not 
previously ordered , may not exceed 10,000. It is 
evident that an additional sum of *£10,000 or j£T15,000, 
applied to the promotion of Art, must afford encou- 
ragement and offer a stimulus to artists, who will then 
doubtless be anxious to produce works on which their 
reputation may be founded, and which may tend to 
raise the national character of the Art that they pro- 
fess. It were an injustice to the members of an en- 
lightened and liberal profession to suppose them insti- 
gated by the mere income they derive from the sale of 
their works. The elevated tone of mind which can 
alone render an artist equal to his subject, the inspira- 
tion which can alone fit him to realize a work of a nigh 
order of merit in the highest class, produce a like feel- 
ing in his aspirations for fame.” 

After some remarks on the improvement in our 
manufactures likely to result from the promotion 
of the arts of design, and also on the importance 
of conducting the Association with impartiality 
and judgment, the sub-committee proceed to set 
forth the result of their deliberations : — 

“ Owing to the infant state of our Society, we have 
not been able hitherto to announce, until the Exhibi- 
tions were about to open, the amounts of the prizes 
that would be obtained by the fortunate prizeholders 
of the year. The consequence has been, that the mem- 


bers who had prizes were obliged to seek at random in 
the Exhibitions for pictures or other works of Art 
which they should purchase. It hence resulted that 
those who held the highest prizes were sometimes at a 
loss to find works corresponding with their expecta- 
tions and wishes. This defect may be easily obviated 
by the Society’s announcing each year the larger 
amounts of £\0Q and upwards to be awarded to the 
members, as principal prize * , to be laid out in works 
of Art in the year ensuing. This would afford ample 
opportunity for those artists who felt so disposed, to 
prepare their subjects for painting or sculpture, &c., of 
such a description as would be likely to be purchased 
by the holders of prizes of the Art-Union. 

* * * * * * 

“ We are encouraged to endeavour to carry out these 
views by the concurrent testimony of all whose opinion 
we have sought ; and we are agreed to recommend that, 
when the principal prizes for the ensuing year are to 
be announced at the annual meeting, it should be 
stated that two of the prizes to be won by the mem- 
bers of the Art-Union will be for the purchase of two 
pictures, say for ^500 and ^*400 respectively, the sub- 
jects to be taken, at the option of the artists, from the 
Bible, from some incident in British history, or from 
some English author. In placing a religious subject 
at the head, we feel that it first commends itself to 
every well-constituted mind, and that the liberality of 
the patron and the talent of the artist cannot be more 
worthily engaged than in illustrating some passage of 
the Holy Scriptures. But next to this, we desire to 
mark emphatically the Art-Union as specially ani- 
mated by the patriotic wish to carry out a great na- 
tional object, and to enlist British Art more imme- 
diately in the illustration of British history and of 
British literature. 

Allusion is next made to a point still undeter- 
mined — 

“ Whether it might be desirable that one of these 
principal prizes should be selected (under the best ad- 
vice) by the committee. 

“ Your sub-committee have been also advised, that 
the character and usefulness of the Art-Union would 
be promoted, and the exertions of the artists would 
receive a much higher reward, stimulating them to 
greater exertions, if one such picture of the highest class, 
so selected by the committee, were occasionally pre- 
sented to a public institution in a provincial town, con- 
taining the greatest number of subscribers ; to be 

E laced in some building open to general access, and to 
ear on it an inscription, stating the name of the 
artist, the subject, and that it was a donation by the 
Art-Union of London. Mr. C. L. Eastlake called our 
attention to the fact ‘that the Dusseldorf Art-Union 
act upon this principle. The committee of manage- 
ment have the right of reserving any picture of extra- 
ordinary merit, and presenting it in the name of the 
Society to some national institution. In this manner 
the picture of the * Captive Jews at the Waters of Baby- 
lon,’ by Bendemann, was presented to the public gal- 
lery of Cologne, where it is constantly exhibited to 
view. Such selections of course are rare.* Mr. West- 
macott remarks that we best reward the artist by this 
public appropriation of his work, and induce others to 
walk in his footsteps, and thus may advance the 
higher objects of Art. Messrs. Wyon and Uwins also 
concur in commending this proposition, as an approach 
to the real and effective plan for the promotion of Art 
on public principles, distinct from individual benefit 
or personal consideration.” 

The attention of the committee is then drawn 
to the fact that, with the exception of one prize 
of £60, to which the holder added £20, no por- 
tion of the funds has been hitherto expended in 
the encouragement of sculpture ; and the report 
recommends in consequence that specific prizes, 
amounting to £200 and £150, should be appro- 
priated annually to that purpose. It is also sug- 
gested that casts in bronze of small groups in 
sculpture should be awarded as prizes. 

It is then suggested that the Art-Union should 
assist iu the encouragement of Medal Die En- 
graving, by commencing a medallic series of the 
History of British Art. 

“ jflOO per annum would ensure the execution of 
the dies of one medal annually, to be of uniform size, 
to contain on the reverse the head of some distinguished 
British artist, as Reynolds, Banks, Bacon, Chambers, 
Wren, Jones, Barry*, Wilson, Lawrence, Flaxman, 
Wilkie, Chantrey ; on the other a group, taken from 
one of his works, if a painter or sculptor; or some 
building, as Whitehall, St. Paul’s, or Somerset House, 
if an architect. Thus should we at once give some 
scope to the genius of our countrymen in this im- 
portant branch, render a just tribute to our departed 
artists, and best illustrate the history of British Art. 

“It has also appeared to us desirable that we should 
call the attention of our artists generally to that dig- 
nified simplicity of composition, that calm expression, 
that purity and correctness of drawing, and severe 
beauty of form, abstract qualities, which, apart from 
colour and all effect of light and shade, exist in the 
compositions on the fictile vases of the ancients, in the 
outlines of our own Flaxman, and in the compositions 


of Riepenhausen and some later Germans. We ven- 
ture to recommend this as a subject worthy your fa- 
vourable consideration, and conceive that we should 
render an essential service to Art in its very highest 
department, by awarding a prize for the best senes of 
Designs in Outline of the class above described, of a 
fixed size and number ; each subject to form a con- 
tinuous series, and so illustrate some epoch in Bntish 
history, or some work of an English author.” 

Under the impression of the important sphere 
which the artist is called on to fill in furthering 
the intellectual development of society, and the 
necessity of providing proper incentives, the sub- 
committee considered the propriety of offering 
annually a large gold medallion to be awarded to 
the author of the best of all the works of Art ex- 
hibited in the year, but found so many difficulties 
would arise in carrying out the proposition that it 
was abandoned. . 

Several gentlemen, with whom the sub-commit- 
tee were in correspondence, suggested that the 
Art-Union should have an exhibition gallery of 
its own ; this they do not at present recommend. 

How many of the suggestions contained in the 
report, or what modifications of them the com- 
mittee will adopt, remains of course to be seen. 
We shall, perhaps, at some early opportunity, 
offer some remarks on its various propositions. 


THE GLASGOW STATUE. 

The sub-committee proceed in this matter with- 
out stop or stay. The bust professing to repre- 
sent 44 the Duke” in the prime of life, has, since 
our last notice, been under the inspection of the 
sub-committee ; and has, by the majority of these 
worthies, been adopted for the statue of his Grace. 

We are assured, by persons who have had the 
opportunity of examining this bust, that in it, 
Marochetti has at once essayed the bold experi- 
ment of 44 grinding down” the 44 caput mortuum,” 
which, thanks to Messrs. Banks, Alison, R. Find- 
lay, Lamond, and Dalglish, he was afforded the 
opportunity of making of 44 the Duke” at Strath - 
fieldsaye, into what he is pleased to imagine must 
have been a resemblance of his Grace in 44 the 
prime of life.” In the hands of a skilful artist 
this would have been no easy task, but in the 
hands of Baron Marochetti it has, as was to have 
been expected, been attended with signal and lu- 
dicrous failure. The Baron has not even adopted 
the usual resource of a bad artist, and in order to 
give a likeness, 44 driven hard at the defects of the 
sitter’s countenance for in this bust, there is 
scarcely a feature in which resemblance can be 
traced, either to the Duke as he now is, or to 
what he ever was in the remembrance of any one. 
The bust is that of a prominent featured man of 
about sixty years of age ( 4< the prime qf life / 9 *) ; 
vulgar, and common-place in a great degree ; and 
the features so feebly delineated, and the whole 
work so crude, undefined, and imperfectly made 
out, as to be wholly devoid of all individuality of cha- 
racter or expression, — at the same that it proves, 
the artist who could put such a production out of 
his hands, was, in every respect, a mere tyro in 
his profession. But further attempt at criticism 
upon this head is a mere waste of time, as it is 
notorious, that it was sent to Glasgow in compli- 
ance with a motion of Lord Belhaven’s, intended 
solely as 44 a tub to the whale and had it been 
the head of a Carib, or even of an ourang-outang, 
it would equally well have answered the purposes 
of the sub-committee. 

The devices practised by the majority and their 
supporters, at the meeting of the 27th of October, 
of which we gave a sketch in our last number, 
seem to have been quite in keeping with, and 
eminently characteristic of, the previous doings of 
this sapient and conscientious body. Whilst the 
motion proposed by Mr. Stirling was of so general 
a character as to be open for all the members of 
both committees to vote upon it, the successful 
amendment of Mr. Morrison, was, on the con- 
trary, a vote of approval of the conduct of 
the sub-committee ; and to entrust them with 
the continued management of the affairs, and 
funds of the subscribers. A feeling of honour, 
and even of common decencv, should there- 
fore have deterred these gentlemen from vo- 
ting at all upon the occasion ; but how did 


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1842 .] 


THE ART-UNION 


11 


they act ? Why, the whole of the majority of the 
sub-committee present, viz. : Messrs. Alison, 
A. S. Dalglish, K. Finlay, J. D. Hope, R. Find- 
lay, J. Campbell, J. Houldsworth, R. Lamond, 
and H. Dunlop, unhesitatingly voted for them- 
selves ; thus, at once, giving nine of the majority 
of fourteen. Mr. Bain signed the requisition 
disapproving qf the conduct qf the majority, but 
seconded Mr . Morrison's amendment, and voted 
against his friends ! Major Monteith, Mr. Bogle, 
and Mr. Fletcher, who had previously been in the 
habit of acting with the British party, deserted 
their friends, and voted for the foreigner ! 
Thirteen of the majority are thus accounted for ! 
Mr. Houston, late M.P., for Renfrewshire, and 
Mr. Nesbit, of Cairn Hill, declined to vote, they 
also having previously been in the habit of voting 
with the British party. Had these last named 
gentlemen voted, and the others, who have been 
named, acted in the way in which, in accordance 
with every principle of honour and common sense, 
it was to have been expected they would have 
done, the British party would at this meeting have 
been in a majority of one (even without the cast- 
ing vote of the Dean of Guild, which might have 
been calculated upon), instead of in a minority of 
fourteen ! But we are given to understand, that 
complaints of treachery upon the occasion do not 
stop herel Thus, appended to the requisition 
calling the meeting, we find the names of Messrs. 
Donald Smith, William Campbell, William Gil- 
mour, John Smith, L.L.D., James Hunter, Wil- 
liam Brown, A. Edmiston, Andrew Wingate, W. 
Mathieson, D. Cuthbertson, W. Connall, John 
Mitchell, Sir W. M. Napier (unavoidably absent 
when the vote was taken), C. D. Donald, and 
Charles Macintosh (absent through ill health), 
none of whom (with the two exceptions men- 
tioned), although they did not directly oppose 
Mr. Stirling, seem to have had the courage and 
good faith to give to the artists of their country a 
vote upon the occasion. We publish their names 
to intimate to the artists of Britain, who amongst 
the gentlemen of Glasgow they may again trust to 
in the hour of need ; and at the same time, to read 
to the gentlemen themselves a little lesson on 
consistency and good faith ; and to show the 
grounds on which the minority calculated on 
having had an overwhelming majority in the cause 
of British Art at the meeting of the 27th of October. 

Dissatisfied with the published report of his 
speech at the meeting in question, it appears that 
Mr. Sheriff Alison has, about a month after the 
meeting, printed an oration, occupying four 
closely printed columns of a Glasgow newspaper. 
The regular reporters present at the meeting, one 
and all, affirm that this oration contains a large 
amount of matter that was never delivered ; and 
many extraordinary alterations affecting vitally and 
materially the sense and meaning of the harangue. 
This printed oration seems to be chiefly confined 
to fulsome and scarcely intelligible laudations of 
Marochetti, and vituperations against those op- 
posed in opinion to the learned sheriff, the mem- 
bers of the London press (of all shades whatever) 
io particular; whom the sheriff stigmatizes as being 
“ no gentlemen l" On the other hand, the friends 
of the minority seem disposed to designate this 
style of argument as savouring of Billingsgate ; and 
however usual with "footmen out of place," to have 
been hardly such as was to have been expected from 
the learned sheriff ; and, even as coming from him, 
to be too contemptible to merit an answer. Mr. 
Patrick Park, the well-known sculptor, has, in some 
excellent letters published in the Glasgow Argus, 
most effectually demolished the artistical preten- 
sions of this "printed, but never-spoken," effusion 
of the sheriff; whilst Mr. Howden has also sub- 
jected the baron, the sheriff, and their friends, to 
a style of castigation under which it is probable 
they may " wince " for some time to come. 

In conclusion, we have to remark, that the mino- 
rity have finally withdrawn their names from the 
list of both committees ; so that the subscribers, 
and the artists of Britain, must, in the future pro- 
gress of matters in connexion with " the Glas- 
gow Statue," exclusively rely on their own ener- 
gies and exertions. 

In our last number there occurs a passage in 
which it may not appear sufficiently clear to our 
readers, that we had not the most remote inten- 
tion of inculpating the gentlemen who have sup- 


ported Mr. M'Lellan, in our censure of the majo- 
rity of the Glasgow sub-committee. The direct 
reverse must have been our wish and intention ; 
and we feel perfectly assured that our readers, and 
the artists of Britain, will respond in this case to 
our sentiments ; being satisfied that these gentle- 
men are deserving of the utmost consideration for 
the zeal which they have throughout this business 
manifested in the cause of British Art. 

RECENT ARCHITECTURE. 

Companion to the Almanac for 1842. 
Unlike almanacs themselves, the " Companion to 
the Almanac" contains matter of permanent in- 
terest, and materials that will hereafter be found 
valuable to the historiau of Art— at least of archi- 
tecture. Putting aside the rest of the contents as 
having no connexion with the objects of our own 
journal, we have to consider the " Companion" 
only in regard to its annual reports of public im- 
provements and new buildings — a feature almost 
eculiar to that publication. That it has also 
een found a popular one, may be presumed, since 
much greater attention has been paid to it in the 
later volumes than was the case in the earlier 
ones ; and manifest improvement has taken place 
in the wood-cuts, which are this year more care- 
fully drawn and neatly executed than they used to 
be. We do not say that they have any pretension 
to be looked upon as productions of Art: it is 
sufficient that they satisfactorily illustrate and ex- 
plain the descriptions, and that they exhibit un- 
edited subjects. Since the commencement of the 
work, a great number of contemporary buildings 
have been described and represented in it, so that 
it now affords a tolerably complete, though con- 
densed, architectural history of the last ten years. 
In proportion to the space occupied, the informa- 
tion is unusually full, for the descriptions are well 
drawn up ; are perspicuous and exact, the mea- 
surements of the buildings being almost invariably 
given. Yet while due attention is given to tech- 
nical accuracy, without which they would be of 
comparatively little value as records, the descrip- 
tions are by no means confined to dry and formal 
details, but, on the contrary, are frequently in- 
terspersed with critical comments and remarks, 
that recommend them to the general as well as to 
professional readers. 

We fancy, indeed, that the writer does not 
always speak out as freely as we, or, perhaps, as 
he himself could wish ; and no doubt in many 
cases he must trust to such materials as he can 
obtain, since it is hardly to be supposed that every 
description is founded upon autopsy and actual 
examination of the respective buildings them- 
selves. Still it is not very difficult to gather, 
both from what he does say, and from what he 
does not say, which way his own taste inclines ; 
and that it is not at all in favour of the style, or 
rather utter want of style, which prevails in the 
generality of the newly-erected churches, admits 
of no doubt. Although, except in some few in- 
stances, as that of the new Public Libraries at 
Cambridge, by Mr. Cockerell, he seldom ex- 
presses disapprobation, it may generally be in- 
ferred from the absence of aught that can be mis- 
taken for commendation, or even acquiescence. 
Most certainly it is not to be supposed but 
that, out of the great number of buildings which 
have thus passed under his notice, there are se- 
veral of which the writer in the " Companion" 
thinks that the less said the better, although, 
either from their importance in other respects, or 
from their pretension, they may have sufficient 
claim to be spoken of. 

Among the public buildings and improvements 
passed under review in the present volume, two 
of the most important — the new Houses of Par- 
liament and the Royal Exchange — do not admit 
as yet of being fully described ; for even of the 
first, that portion which is actually in progress is 
very far from being completed, even externally; 
while of the other the superstructure is not yet 
commenced. Of course, therefore, they will 
come under notice again, perhaps repeatedly; 
and in the mean time it is satisfactory to learn, 
that the terrace front of the " Houses" will be no 
less admirable for excellence of construction and 
beauty of material and workmanship, than for the 
general magnificence of the design, and the im- 


posing magnitude of the entire facade. What is 
already done there may be taken aa earnest for 
the execution of the rest of the exterior ; and most 
gratifying is it to be thus assured, that we shall 
at length have one truly grand national structure 
that will reflect credit on the English architecture 
of the nineteenth century, and vindicate it from 
the reproach thrown upon it by such unfortunate 
productions as Buckingham Palace, the National 
Gallery, and the British Museum ; of which last, the 
exterior at least is plain even to meanness, and has 
no other than the poor negative merit of making 
no sort of preteuce whatever, to either beauty or 
grandeur : whether the facade, when it comes to 
be erected, will fulfil the greater promise made 
by it, it is with us matter of doubt; for the 
architect must greatly excel all his former works, 
if he means now to give us what will maintain 
for him in the middle of the century any thing 
like the reputation he acquired nearly at the com- 
mencement of it. 

In regard to the Royal Exchange, a tolerably 
full general description of the building as now 
intended, is given m the " Companion ;" and we 
learn from it that it has now been determined to 
enlarge the portico at the west end, by making it 
diprostyle instead of monoprostyle , that is, 
advancing out two intercolumns from the building 
(like the portico of St. Martin’s church), instead 
of a single one, as is the case with most of our 
modern porticoes. It will further surpass all other 
examples of the kind in the metropolis, in the 
magnitude of the order, the height of the columns 
being 41 feet, and likewise in having inner 
columns, which will certainly produce unusual 
richness of character. We therefore hope since 
it is intended to do so much, that the architect 
will not be compelled to stop short of giving com- 
lete effect to this leading feature of his edifice, 
y decorating it both internally and externally 
as we find here suggested. We do not learn, how- 
ever, that after-consideration of the design has 
led to any alteration as regards the merchants’ 
area, which is still to be merely an open court 
quite exposed to the weather, except beneath the 
arcades on its sides. So far, no advantage will be 
taken of the opportunity now offered for im- 
proving upon the former Exchange ; on the con- 
trary, the " area" in the new edifice will be, in 
some degree, inferior to that in the old one, in- 
asmuch as it will be narrower than the latter by 
about fifty feet, and a double square in plan, viz., 
120 by 60 feet; whereas, the other was nearly 
square (144 by 117), a much more suitable form 
for such a place of assemblage, where concentra- 
tion is desirable. Yet, whatever obstacles may 
have prevented greater width being giving to the 
central area, the leaving it uncovered and exposed 
to the weather, in a climate where it has lately 
rained for weeks together, is entirely matter of 
choice, and a most injudicious choice we consider 
it to be, and one very likely to be repented of 
too late. Putting comfort out of the question, 
one strong reason in favour of roofing in the area 
of the Exchange, is that it would make the place 
appear more spacious, fok what will seem very 
narrow and confined as an open court, would appear 
considerably larger as an internal hall within the 
building— which it might be, aud yet be perfectly 
ventilated, either by lanterns in the roof left open 
on their sides, or by unglazed windows around the 
upper part of the walls. Happily it is not yet too late 
for the architect to reconsider this very material 
point, and to impress it upon the Gresham Com- 
mittee ; which must be our excuse for speaking of 
it so much at length as we have done. 

One projected work of public embellishment, 
the particulars of which are given in the " Com- 
panion," is the Statue of William IV. about to be 
erected on the wide open space facing the north 
end of London Bridge. It being at the termina- 
tion of several streets, this spot has been found so 
exceedingly dangerous for foot-passengers, that 
the inhabitants of the neighbourhood petitioned 
that some obelisk or lamp-post should be pul up 
on the crossing. In consequence of this repre- 
sentation, the Common Council very spiritedly 
voted that a Statue of his late Majesty shall be 
erected there. The figure, which has been mo- 
delled, and will be executed in polished granite by 
Mr. S. Nixon, will be 14 feet high, upon a bold 
circular pedestal and substructure, making the 


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12 


THE ART-UNION 


entire height forty feet. Notwithstanding the 
scale of this monument, and the difficulty of work- 
ing the material to be employed, it is stated that 
the whole is agreed to be executed for £2200— 
a very moderate sum indeed, when compared with 
the cost of some other public statues upon an in- 
ferior scale. What is not the least remarkable 
part of the matter is, that a work of the kind 
should have been managed so quietly, and with 
suck good taste on the part of the citizens, while the 
Nelson Monument seems to be in every respect 
a failure — or if ever completed, will be a work 
certainly not worth the bustle of two competitions 
for it. 

[We shall conclude this article next month.] 


CORRESPONDENCE. 

THE BIRTH-DAY OF RAFFAELLE. 

Sir,— I t may perhaps not be foreign to the object of 
your instructive Journal, to notice an error which lias 
been generally adopted in regard to the birth-date of 
Raffaelle. 

While travelling, about three years ago, through the 
less frequented parts of Central Italy, in search of re- 
mains of the Umbrian school of painting, I arrived at 
Citta di Castello. Signor Andreozzi, the historiogra- 
pher of that town, and a gentleman imbued with much 
taste for Art, conducted me, among other attentions, 
to see a portrait which bad shortly before been found 
by an artist of the place, in a village near Urbino, and 
of which I became the purchaser. It is the profile head 
and shoulders of a boy, painted a tempera on a thin 
panel, 16 inches by 11 : it was in perfect preservation 
excepting a partial fissure, but the mean black frame 
was wormeaten, and tenanted by bugs. The head is 
small, the neck long ; the slight figure is clothed in a 
tunic tight lo the throat, from which it bangs straight 
and loose, after the Italian fashion of the fifteenth cen- 
tury ; and though ill adapted for elegance of drapery, 
its deep crimson colour and gold embroideries give a 
certain richness to this meagrely designed costume. 
The sandy hair is carefully but simply smoothed over 
the eye-brows, and primly adjusted upon the ears. In 
the small regular features there is a 6taid character and 
self possession unusual at so early an age, while in the 
clear hazel eye, and in the calm smile that plays round 
a mouth of rare beauty, may be traced much promise 
of genius and refinement. On a white ledge under the 
figure is written this inscription, in the usual Italian 
hand of that date : “Raffaello Sanzi d’Anni Sei, nato il 
di 6 Apr : 1483. Sanzi Padre Dipinse.” The back of 
the panel bears these words, also in old characters : 
“ Ritratto del piccolo RaflTaello Sanzi d’anni sei, nato in 
Urbino il di sei di Aprile 1483. Sanzi Padre Dipinse.” 

Although there could be no question I had acquired 
a rare and pleasing specimen of that age of Art, I was 
not a little sceptical as to my good fortune in procuring 
an original portrait of * the divine Raffaelle,’ especially 
on finding that the Abbate Pungileonc, his latest Italian 
biographer, states his birth-day as on the 29th of 
March, instead of the 6th of April. But on visiting 
Urbino a few days after, I there read on the wall of a 
house these lines, 

Nunquahi mori turns 
Exiguis hisce in sedibus 
Eximius ille pictor 
Raphael 
Natus est 

Oct: Id: Apr: an: MCDXXCIII. 

This date agrees with the 6th of April, and though of 
uncertain authorship, the Latin inscription may be 
presumed to express the traditionary belief of his native 
place. Still however this was only presumptive proof, 
and seemed to me quite insufficient. 

On farther examination, I found that Vasari men- 
tions Raffaelle’s birth as occuiring on Good Friday 
1483, which was the 28th of March, and which has con- 
sequently been since generally received by his biogra- 
phers as correct, sometimes the church holiday, and 
sometimes the day of the month being adopted. Con- 
ceiving that the most authentic evidence was the 
epitaph on the painter, written by his friend Cardinal 
Berabo, and placed over his tomb in the Pantheon at 
Rome— 1 there found these words. 

Vixit annos XXXVII integer integros 
Quo die natus est eo esse desiit, 

VIII: Id: Aprilis MDXX. 

The meaning of this somewhat mannered phrase clearly 
is that “ he lived precisely thirty seven years, and died 
on the 8th ides of April 1520, being.[the anniversary of 


his birth and in a letter from Rome written five 
days after the sad event, it is stated to have occurred 
on his birth-day, “nelsuo istesso giorno natale.”*— 
Now the 8th ides was the 6th day of April, so that if 
Raffaelle lived the exact period of thirty-seven years, as 
Bembo asserts, he must have been born on the 6th of 
April, as the inscription on my portrait bears. Nor is 
it difficult to detect the origin of this mistake, which 
has become a “ vulgar error.” The 6th April, 1520, on 
which Raffaelle died, was Good Friday, and Vasari, 
applying Bembo’s inscription, without recollecting this 
to be a moveable feast, arrived at the untenable conclu- 
sion that, as he died on Good Friday, and on his birth- 
day, he must also have been born on Good Friday. 
Now Good Friday 1483, fallingon the 28th of March, had 
that been his birth-day, he must have lived thirty-seven 
years and nine days, instead of “ exactly thirty-seven 
years,” and could not have died on the anniversary of 
his birth. 

Being curious to ascertain the documents which 
Pungileone appears to refer to (Elogio di Raffacllo, p. 
2), as fixing the artist’s birth on the 28th of March, I 
waited upon him at Rome in 1839, with this view ; but 
I found him quite unable to give me any distinct 
account of his authorities, and unwilling to hear any 
doubts on the subject. 

These observations, which I have endeavoured to 
condense, seem to establish the true date of Rafl'aelle’s 
birth. Were I not unwilling to trespass longer on 
your valuable pages, I might adduce some curious 
points of resemblance between my portrait of Raffaelle, 
and all the supposed likenesses of him which have been 
introduced in the larger works of his father Giovanni 
Sanzi, of his master Perugino, and of his comrade 
Pinturicchio. As to the other alleged easel portraits 
of that great man, none are now considered genuine 
but that in the Florence Gallery. 1 shall only add, that 
none who have read the Elogio di Giovanni Santi by 
Pungileone, or have examined his works at Cagli, 
Urbino, Milan, or Berlin, will fall into the absurd mis- 
take so constantly repeated, of considering him either 
a mediocre artist, or a mere dauber on pottery. 

Yours, Ac., James Dknnistoun’. 

5, Forres-street, Edinburgh, Nov. 9, 1841. 

P.S. My friend the Chevalier Kcstner, Hanoverian 
Minister at the Papal court, pressed me to send an 
engraving of my portrait to Passavant, for his life of 
Raffaelle, then preparing for the press ; but I received 
a hint that, if 1 allowed it to be seen there, the govern- 
ment would probably prevent so interesting a curiosity 
of Art from leaving Rome. By the by, w hy has not 
Passavant’s work been translated into English? 

TIIE WILKIE TESTIMONIAL. 

Sir,— Without wishing fora moment to detract from 
tlieworthof Wilkie, or lower him as an aitist in the 
estimation of his country, I cannot consider him so 
pre-eminently entitled to a public testimonial as mnny 
painters— his contemporaries— who have adorned our 
school, and who, for the sake of principle and high 
Art, sacrificed health, and the dazzling allurements 
of present wealth. To merit the greatest honours 
which a grateful country can render, the genius, I 
think, should be as nearly as possible of the highest 
class; as it is from that class emanates the power, 
which in its progress, fashious and moulds the na- 
tional taste and feeling. Rafl'aelle and Teniers were 
both artists ; but can there be a doubt as to which of 
the two is most deserving of a “ Testimonial.” I have 
been induced to adopt this opinion from observing in 
how few instances the real worth of the man or merit 
of the artist has experienced the posthumous honours 
that a great and civilized nation should always bestow. 
To strengthen my argument— within very few years 
past, the English school of Art has been deprived of 
many of its greatest ornaments, as artists and as men ; 
for example, to mention only the names of two— Stoth- 
ard and Hilton ; no public meetings have been con- 
vened to do honour to either of them. Yet surely 
there is no one who will deny the greatness of these two 
painters— a greatness, not achieved by pandering to 
fashionable fripperies, or being merely the 4 ‘ Lion” of 
the day, but based upon a powerand worth which time 
will but serve to strengthen, and which must glways be 
appreciated ns long as Art shall have existence among 
mankind. Stothard has been dead but a few years; 
Hilton scarcely two, yet no displays of public eloquence 
nor bursts of enthusiastic admiration marked their de- 
scent to the grave ! They were permitted to pass from 
among us unnoticed ; regretted only by those who knew 
how to appreciate them as men, and honour them as 
* Longhcna, Istoria di Rafl'ado p. 561. 


[Jan. 


artists. To regard Wilkie as a man is one thing ; to 
consider him as a great genius is another. Private 
feelings and sympathies may be strong, but they never 
should be called forth to influence the judgment, when 
merely the merit or greatness of an individual is under 
consideration.— Yours, &c., S. S. N. 

MISPLACED ANCIENT PICTURES. 

Sir,— A gentleman returning (more, 1 believe than - 
half a century ago) from the Mediterranean, on board 
a King’s vessel, threw himself overboard, and was 
drowned, leaving behind him, with other property, 
several pictures by different masters. These were 
placed in the King’s stores, but no claimant ever 
appeared ; and at the period when my informant saw 
them by accident, about 12 months since, they were 
deposited in Deptford Victualling-yard. Affixed to one 
of the pictures he noticed the name of Carlo Maratti. 

I doubt not, but that if their existence were known to 
tbe proper authorities, they would, if found worthy, 
be placed in the National Gallery, instead of being 
allowed to rot where they are.— Yours, &c., 

Stonehousc, Nov. 1841. A Fellow Admirer. 

THE CONTROVERSY CONCERNING VEHICLES. 

Sir,— I trust to your sense of justice— indeed, I con- 
sider I have a right to demand from you the insertion 
in the next number of your valuable paper, of the ac- 
companying extracts from a letter which I received 
from ** J. E.” before he published my recipes for mak- 
ing the Silica Medium.— Yours, & c., 

Dec. 10th, 1841. R. W. H. Hardy. 

Extracts from “ J . J5.V* letter to Lieut. R. W. H. 

Hardy , R.N. 

“My Dear Sir, “April 17th, 1841. 

“ If you allow me to mention the ex- 
periments you have made and the results, I will do so 
—or do you mean to do it yourself? If I do it, I shall 
mention your name as the inventor, in fact, tell the 
truth, the whole truth, and nothing but the truth. I 
have more than half a mind to write iustanter all the 
preliminary matter.” 

“I must again say how delighted I am with your 
Silica Medium. It is every thing one could wish.” 

“ Believe me ever yours, most truly, 

“To R. W. H. Hardy, Esq.,R.N.” “ J.E.” 

TESTS. 

\Vc are indebted to Mr. Miller, of Long-Acre, for 
answers to two questions put by “ Correspondents.’ 
First, with respect to his “ Medium,” he states that be 
has been enabled greatly to improve it. He adds— 

“ Too much, however, must not be expected from it 
when used with colours already prepared in oil, which 
may not be pure ; but if colours prepared in medium 
be used, it will entirely answer the expectations of the 
artist.” 

Next, Mr. Miller states, 

“ Since addressing you on the subject of a * Test for 
Lemon Yellow,’ I have hud several applications from 
first rate artists for a Test for Constant White ; these 
gentlemen having had some of their most valuable 
works destroyed by the changes that have taken place 
in them, namely, from white to brown or black. It 
will be proper here to state the cause whence this effect 
almost always arises, which is this : artists frequently 
express a wish to have a white with a stronger body 
than is usually made ; and inexperienced colourmen, 
to hnmour this wish, arc often induced to mix with it 
white lead or some other changeable pigment, not 
knowing the fatal results that must inevitably follow. 
The Test I recommend for Constant White is tbe 
same as that I gave for Lemon Yellow, to which, 

1 beg leave to refer your readers. I have merely 
to add that Constant White, if pure, is unchange- 
able under any circumstances whenever it is confined 
to water painting or drawing.” 

[We hope it will be obvious to our correspondents that 
it is utterly impossible for us to publish all the commu- j 
nications we receive. At the present moment , there are 
lying upon our desk letters enough to fUl a number ; I 
some of them of no inconsiderable value and concerning 
subjects of much importance ; yet for which we cannot 
find room. Our judgment must be exercised in select- 
ing only such as are most interesting or will give greater 
variety to our journal. j 

We must also express a hope that our correspondent a < 

will nolt upon all occasions f demand even the courtesy ’ 
o/“ a reply.” To say merely such and such a commu- 
nication is rejected , would be more discourteous thorn 
to say nothing ; and to explain our motives for omis- 
sions would occupy too much time and space.] 


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1842 .] 


THE ART-UNION 


13 


VARIETIES. 

Biennial Distribution of Medals. — As 
long as English Art shall hold rank among the 
schools of Europe ; nay, as long as Art shall exist 
in the world, the 10th of December will be remem- 
bered with interest and pleasure. The anniversary 
of the establishment of the Royal Academy — that 
Institution which has given a local habitation and 
a name to the painting, sculpture, and architecture 
of Great Britain, is a holy day. On the biennial 
recurrence of this day were delivered those elo- 
quent discourses of the first president, Sir Joshua 
Reynolds, which were listened to with delight 
bordering on enthusiasm ; which have been trans- 
lated into all languages ; and have formed the 
basis of the theory, and the guide to the practice 
of the student wherever taste is cherished and 
beauty recognized. The popularity of Reynolds, 
and the value of these discourses, gave a publicity 
to the day which was not originally contemplated by 
the academy. Many persons of rank ana literary 
emineuce solicited permission to be present on the 
occasions of their delivery ; and the students had 
the additional stimulus of knowing they would 
receive their honours in the presence of Burke, 
Johnson, Goldsmith, and others, who, by their 
works, had given a character to the age ; as well 
as the noblemen and gentlemen who had stood 
forward as the promoters of taste and the patrons of 
Arts, which embellish and dignify humanity. The 
Presidents who followed Reynolds, sensible, per- 
haps, they could add nothing to what had been so 
well done by their predecessor, confined them- 
selves to some friendly admonitions'to the students. 
In the hands of West and Lawrence the ceremony 
had dwindled away, till its publicity was lost. It 
was reserved for Sir Martin Sliee to restore it to 
its original splendour. The eloquent discourses 
delivered from the chair, since the election of this 
gentlemen, have been listened to by an audience 
composed ofthe most distinguished characters in the 
nolitical and literary world. On the late occasion, 
nowever, the distribution was strictly private. 
The president, with feeble voice and faltering ac- 
cents, told the students the reason of this change : 
the recent sudden death of a valued member of 
the Academy required it. All those distinguished 
individuals whose presence would have graced the 
ceremony were personal friends of the deceased, 
and could hardly be expected to enter with any 
pleasure into a fete which must recal so forcibly 
to their feelings the great public and private loss 
that they had sustained. Without any laboured 
eulogy on Sir F. Chantrey, the president devoted 
a few words to his memory. He dwelt, especially, 
on the truly patriotic and British character of all 
bis thoughts, words, and works ; and he assured 
the students that the honest convictions of his 
mind were carried out in the provisions of his will, 
inasmuch as his whole fortune was utimately 
left for the purchase of works by British artists, 
which might do honour to the country of his birth 
and extend the fame of the school he loved. The 
President then proceeded to award the Prizes, in 
the following order For the best historical 
painting, a gold medal to Mr. Henry le Jeune. 
For the best original model, a gold medal to Mr. 
W. Calder Marshall. For the best architectural 
design, a gold medal to Mr. Hinton Cambell. 
The first silver medal in the school of painting to 
Mr. Safford ; second, Mr. J. Price. Architectural 
drawings, Mr. Gamin. The best drawing from 
the life, Mr. Gildorsen. The next degree in 
merit, Mr. H. le Jeune. Model from the life- 
school, Mr. Nelson. Drawings from the antique 
— first, W. A. Wageman; secoud, A. D. Cooper; 
third, H. Boyce. Models from the antique — 
first, Mr. Merit; second, Mr. Adam; and third, 
Air. Gattie. Copies of the discourses of Reynolds 
and West were delivered with the gold medals ; 
and with the first silver medals the lectures of 
Barry, Opie, Fuseli, and Flaxman.* 

* In the class of historical painting, the subject for 
which was, 4 Sampson Bursting his Bonds,* there were 
four candidates ; in that of original models, the subject 
of which was 4 Venus protecting d£neas from the Wrath 
of Diomede,* there were two ; and in that of architecture, 
the subject being an original design for a British 
senate-house, there were three. There were also live 
copies in oil from the Dulwich picture of 4 St. Sebastian 
eleven drawings, and one model from the life ; twenty- 
two productions from the antique school; and two 
drawings from the portico of St. Paul’s. 


After the ceremony, the President read a lec- 
ture, which principally consisted of a careful ex- 
amination of the works of Wilkie, in which the 
development of the mind of this great artist, and 
the formation of his character, were traced with 
a master hand, from his earliest beginnings at the 
Fifeshire manse, through the splendid achieve- 
ments of his pencil in London, in Spain, and 
Italy, until his visit to the Holy Land, where the 
excitement of treading the same ground that had 
been trodden by Christ and his Apostles, proved 
too much for him, and he sank into the arms of 
death at the moment of the fruition of his longest- 
cherished hopes for fame and immortality. 

The Genius of Chantrey. — We have else- 
where given a memoir of this distinguished artist, 
and accorded to his memory the respect to which 
it is justly entitled ; but it is impossible to speak 
of his genius and character as an artist, without 
some reservation ; they cannot receive from any 
just historian entire and unqualified praise. In 
one department of the Arts, unquestionably, he 
had no rival ; and has not left an equal — but that 
department is not the highest. In “ bust-mo- 
delling” he was a giant ; but in works of invention 
less than a dwarf. The modelling of busts merely, 
will hardly preserve his memory beyond the age 
embellished by his chisel; while the names of 
Banks and Flaxman — the latter especially — will 
become greater as time rolls onward. Chantrey 
was a man of tact and observation ; Flaxman was 
an epic poet. It must not be denied that Chan- 
trey struck out a new path in marble portraiture. 
There was a dryness, an inanimate rigidity in all 
busts, ancient and modern, before his time. In 
the hands of Nollekens the Art had attained the 
perfection of common-place insipidity. Chantrey 
was bold enough to break through the trammels 
which had bound his predecessors, and ventured 
to give an air of truth and nature to his works, 
which was perceived and felt by all. This was 
the legitimate source of his popularity. Imagina- 
tion he had none ! Sensible of this deficiency, he 
declined or delayed commissions for poetic sub- 
jects ; and for his monumental groups he always 
called in the aid of a painter or a draughtsman. 
One of the noblest subjects ever proposed to a 
sculptor was offered as a commission to Chantrey 
by the late Earl of Egremont — 4 Milton’s Satan 
addressing the Sun.’ But the 44 good earl” had 
mistaken his man. Had such a proposal been 
made to Gibson, a work might have been pro- 
duced that would have done honour to British 
Art. So confined was Chantrey’s genius, that it 
did not even embrace the conception of beauty. 
Character was sure in his hands — the mechanist, 
the philosopher, or the politician, stood out in 
all the force of individual resemblance, and Walter 
Scott came from his chisel the arch story-teller 
rather than the poet ; but beauty, female beauty, 
was as much beyond his reach, as it was foreign 
to his perceptions. He left this bow of Ulysses 
to be bent by some more gifted successor. Sir 
Francis left no children, and we understand no 
very near relations ; he has bequeathed, therefore, 
it is said, the great bulk of his fortune to the pro- 
motion and encouragement of British Art — a noble 
termination to a useful and honourable life. His 
will is not yet proved, and it would be premature 
to give circulation to the various rumours on this 
subject.* It is certain, however, that the extent 
of his weaith has been greatly exaggerated ; in- 

* We may state, however, as pretty certain, on the 
death of Lady Chantrey, the yearly sum of about 
jt 2500 will be at the disposal of the President anil 
Council, not the full body, of the Royal Academy. This 
sum is to be laid out, not in prizes, as has hitherto been 
understood, but in the purchase of pictures and statue3, 
executed, be the artist who lie may, entirely within the 
shores of Great Britain. The dead are admitted to 
contend with tha living, and the council, while they 
are allowed to purchase the works of a sculptor like 
Roubiliac, who had his studio in London, are prohi- 
bited at the same time from purchasing the works of an 
English sculptor residing at Rome, and sending his 
works, as Gibson does, for exhibition in this country. 
The admiration that Chantrey had at all times for both 
Roubiliac and Gibson may have prompted this part of 
the bequest. It further appears that the trustees are 
prohibited from spending any part of the fund in the 
erection of any building beyond a temporary one for 
the reception of the works of Art already purchased ; 
and this prohibition is made in the hope, as .Sir Francis 
Chantrey expresses it, that the government of his 
country will erect a building worthy of the works which 
his money has procured, and is every year procuring. 


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deed it must have occurred to all who gave the 
matter consideration, that he could not have left 
a very large sum ; the expences incident to his 
profession are enormous, and increase in the ratio 
of his commissions. Sir Francis had an exceed- 
ingly pleasant and good humoured countenance, 
not indicative of high intellect, but remarkable 
rather for bon hommie ; he was above the middle 
size, and somewhat stout. 

The Society of Painters in Water Co- 
lours have, very wisely, we think, resolved upon 
adding to its number ; they will now consist of 
thirty members and twenty associate-members. 
The extension, we believe, originated in the sug- 
gestion of Mr. Hills, the oldest member of the 
body, and its secretary — whose proposition was 
unanimously adopted. It is somewhat singular, 
however, that the Society never has been full ; 
and this fact is adduced as a proof against its 
44 exclusive” character, for it is affirmed they are 
anxious to attach, as well as interested in attach- 
ing, to it all artists of undoubted talent. But of 
late years, artists in this branch of the profession 
have largely increased in number and m ability ; 
and the limitation that would have been satis- 
factory twenty or thirty years ago, can scarcely 
be characterized as justifiable now. We rejoice, 
therefore, to record this very judicious and, we 
must add, generous, augmentation. We hope, ere 
long, to see the example followed by a higher — by 
the highest— Institution for promoting the Arts of 
Great Britain. 

Fresco-Studies. — Several artists have been 
already stimulated, by the prospect of honourable 
and profitable occupation, hereafter, in decorating 
the Houses of Lords and Commons, to make 
studies in this department of the Arts— a depart- 
ment, comparatively new to England. They have 
prepared walls and are working vigorously, to as- 
certain the nature and power of the 44 materiel” in 
their hands ; and to become familiar with its use, 
when the time of trial has arrived. They are pur- 
suing a very wise and proper course ; if we are to 
have Frescoes to any great extent, and this is by 
no means improbable, sure we are that our British 
painters will be as able to execute them as the 
painters of Germany; — not perhaps at a day’s 
notice, hut certainly after time for preparation 
has been allowed. There can be as little doubt 
that 44 the commission” will be equally ready and 
willing to give the preference to our own artists, 
if they can afford proofs of their capability for the 
due performance of the duty. All circumstances, 
therefore, combine to give us the assurance, that 
an importation from the Continent will be as un- 
necessary as unwise, as inexpedient as unjust. 

The Poniatowski Gems.— It appears that 
John Tyrrell, Esq., is about to publish a series ol 
casts from these famous gems, to the amazing 
number of 1200. We have not yet had an oppor- 
tunity of inspecting any of them, bat they have 
received an extended notice in the columns of our 
able contemporary, the Spectator — a journal that 
we rejoice to perceive is devoting greater space 
than formerly to subjects connected with the Fine 
Arts.* An explanatory catalogue accompanies 
the cabinet of copies. The opinion of the critic is 
unfavourable to their authenticity ; he considers 
them to be, 44 not copies from the antique, but in- 
ventions of modern Italian artists ,’ ’ and gives at 
length his reasons for so deeming them. We shall 
most probably have an opportunity of examining 
the collection before we again publish ; but it is 
only just to remark, that several accomplished 
connoisseurs place implicit credit upon the 44 ge- 
nuineness” of by far the largest portion. 

T. L. Donaldson, Esq., the eminent archi- 
tect, whose works have obtained for him a very 
high reputation, has been appointed Professor of 
Architecture to the London University College. 
We have elsewhere noticed the election of Mr. 
Cockerill, R.A., as foreign member of the 44 Aca- 
demic des Beaux Arts.*' 

* The number of the Spectator for December the 
18th contains part of a very able article on the subject 
of frescoes, under the signature of S. R. H., which, if 
we could consider it fair play so to do. we would gladly 
transfer to our columns. We strongly recommend its 
perusal to nil persons who are interested in this im- 
portant subject. Indeed, when the paper is concluded, 
if we can obtain the permission of the writer and the 
editor, we shall, perhaps, reprint it. The article was 
continued iu the journal of tne 25th. 

Google 


14 


THE ART-UNION. 


J. R. Herbert, Esa., A.U.A.— This accom- 
plished painter has maae a commencement in a 
class of Art in which he of all other British ar- 
tists is likely to arrive at eminence. He has en- 
gaged to paint, in fresco, the altar end of the 
Roman Catholic Church, dedicated to St. George, 
in the Borough : the subjects will be taken from 
the life of the patron saint of England. 

New Society of Painters in Water 
Colours. — The election of new members will 
take place on the first Monday of February in 
each year. We understand there are several can- 
didates for admission in February next. 

The 4 Christening/ — A picture, with a view 
to engraving, is of course to be painted of the cere- 
monial of baptizing his Royal Highness the Prince 
of Wales. The task has been consigned to Mr. 
George Hayter — it is said by direct command of 
her Majesty ; and the work, on its completion, is 
to be placed under the charge of Mr. Moon. 

George Arnold, Esq., A.R.A.— The venera- 
ble landscape painter, whose works obtained so 
much' repute, before the introduction of a higher 
style in the Art, has just died at a very advanced 
age. We shall obtain some particulars of his life 
for our next number. 


ON THE INFLUENCE AND EFFECT OF 
TASTE IN THE USEFUL ARTS. 

Coleridge was the first who pointed out the 
vast extent and variety of the elements necessary 
to constitute a system of national education which 
would be truly worthy of its name. He saw that 
all the circumstances which surround a people 
have an influence more or less direct in determin- 
ing the course and direction of mental develop- 
ment ; that society is a large school in which men 
never wholly escape from the state of pupilage ; 
and that artisans of every degree are incessantly 
giving us lessons on objects which, however trivial 
in appearance, become highly important in reality. 
The influence of the material on the spiritual is 
one of the most fixed laws of our nature ; we begin 
life as the slaves of form, and it requires many and 
repeated struggles to emancipate us from their 
bondage. Every one of these forms generates its 
peculiar habit ; the soul with all its innate strength 
becomes like Gulliver chained down by the Lilli- 
putians — it could easily tear away any single bond, 
but it is securely held by the aggregate. 44 Des- 
pise not the day of small things,” is an aphorism 
not less worthy the attention of the statesman 
than of the Christian : a drop of water will not 
injure the softest pumice, but a continued succes- 
sion of drops will wear through the hardest marble ; 
a grain of sand will not deface a baby-house, but 
an assemblage of these grains has overwhelmed the 
noblest monuments of the gigantic architecture of 
Egypt. In the physical world such aphorisms 
are received as truisms, but in the moral life they 
receive only an otiose assent ; men recognise their 
unquestionable truth, and act as if they were the 
most arrant falsehoods. 

It needs no laboured disquisition to prove that 
taste is a moral power, and that the cultivation of 
taste is a powerful means of elevating the intellec- 
tual condition of humanity. The knowledge 
which we derive from the discriminating functions 
of taste is not the same in kind as the know- 
ledge derived from the applications of mecha- 
nics, chemistry, and experimental philosophy, 
or from the study of the sciences, of poli- 
tics, or of religion : but it is the same faculty 
which is brought into play, which is strengthened 
by use and invigorated by exercise in every 
artistic, moral, or scientific display of mental ener- 
gies. It is the capacity of feeling the adaptation 
of means to effect the desired ends, availing itself 
of the knowledge of the past in determining the 
fitness or unfitness of the objects to produce 
results which it would be advantageous to attain, 
that enables the mechanist to devise schemes for 
accelerating or retarding motion— the chemist to 
form his compositions and decompositions — the 
politician to plan his schemes for extending and 
securing the happiness of nations — and the man of 
taste to produce delightful emotions by arrange- 
ment and contrivance. 

This truth has escaped notice from a very com- 
mon but mistaken notion that our ideas of beauty, 
whether in form, colour, sound, or significance, 


are perfectly arbitrary. Why should we attempt 
to cultivate a national taste, it is asked, when all 
the objects on which it will be exercised must be 
inimitably varied according to the caprices of 
fashion ? The short answer to such an inquiry is, 
that fashion itself is nothing more than an im- 
perious display of influential tastes, and that the 
co-existence of good public taste and bad public 
; fashion is a sheer contradiction in terms. But 
we are asked, do not tastes vary so much in 
different times and countries, as to prove that there 
is no original and definite standard of beauty by 
which its relations to taste can be justly estima- 
ted ? Here the error arises from supposing that 
there can be no standard but one that is fixed and 
definite, which is notoriously untrue in all the 
sciences and in all the arts of life ; all that need be 
contended for, is the existence of a standard ad- 
mitting of variations to any extent consistent with 
known, or at least ascertainable limits. Now 
that such a standard does actually exist, may at 
once be demonstrated by referring to a very simple 
and intelligible object of taste — popular music. It 
is an obiect which we think peculiarly valuable, 
and too long neglected in Buch inquiries as that 
in which we are engaged, for illustrating the in- 
fluence of original tendencies to a definable series 
of means for producing the desirable end of 
pleasing emotions, and at the same time showing 
the modifying power of contingent circumstances 
in diversifying the original feelings. 

We find different casts, or perhaps we should ra- 
ther say schools, of music prevailing in different 
nations; the variety of these national melodies is 
very great, probably as great as any instance that 
could be found of the influence of circumstances 
in diversifying the objects of a common taste, or 
the pleasures resulting from the perception of ex- 
ternal objects. Indeed, it is a common remark, 
that the ear is not less capricious than the eye ; 
but a close examination will show us that there 
are limits to this diversifying power; for, how- 
ever different the spirit of the national melodies 
may be, we find that in all nations certain succes- 
sions of sound alone are pleasing, viz., those which 
admit of certain mathematical proportions in their 
times of vibration. It is not every serial succes- 
sion or combination of sounds, then, that is capa- 
ble of exciting in human minds the emotion of 
beauty, or, what is the same thing, producing 
perceptions of melody ; but only certain series of 
sounds, capable, indeed, of great variation, but 
still leaving their variations confined within the 
rigid limits of mathematical laws. 

Here, then, is an instance of an universal law of 
beauty known, recognised, and easily understood 
in the perceptions arising from one of our senses, 
in which delight is felt from the mere arrange- 
ments or successions of sounds when the series 
conform to an established order ; and hence ana- 
logy affords us a fair ground of presumption that 
the same may be true of the other senses ; and 
that in them the perceptions of beauty may not all 
be contingent, but may be regulated by a law 
which, though perhaps not so stringent as the law 
which governs musical beauty, still has limits to 
which we can approximate, if we cannot ascertain 
them with mathematical precision. 

We are aware of the danger of pushing analogies 
too far, and we know that many persons have 
pushed the analogy between sight and sound to a 
most ridiculous extent. We have had before us 
a grave proposal to construct a pianoforte for 
painters ! the author averred that the colours of 
the rainbow were not merely analogous to the 
notes of the gamut, but fundamentally the same 
in principle, and he therefore proposed to attach 
coloured slips of wood to the wires, which would 
shoot up when the corresponding keys were struck, 
and thus give harmony of colour to the eye, while 
harmony of sound was presented to the ear. 
Without going to any such absurd length, we still 
venture to assert, that a certain harmony of forms 
and colours as really and as truly exists as a har- 
mony of sounds, and that there is as natural a 
taste for the perception of beauty in one as in the 
other. 

That our ideas of the beautiful are originally 
and primarily derived from our ideas of the useful, 
is a notion that never could have entered into the 
head of anybody but a dreaming speculator, too 
dull to perceive beauty, and too stupid to practise 
utility. But it is quite a different thing to con- 
tend that there are definite relations and a certain 


connexion between the forms most pleasing to the 
eye and most profitable to the hand. The vase 
of greatest capacity united to greatest conve- 
nience, is absolutely that which the world recog- 
nises as the most graceful in form ; and the most 
delightful ship to the uninstructed eye, is that 
whose shape most closely approximates to the 
solid of least resistance. Everybody knows that a 
clumsy implement is not less inconvenient in use 
than it is ungraceful in sight ; and all the recent 
contrivances which have most enlarged domestic 
comfort have contributed most to domestic orna- 
ment. W’e must be thoroughly convinced that 
beauty is as real a thing as utility, before we can 
profitably enter on the inquiry how far the Fine 
Arts have helped to advance the Useful Arts. 
Two very opposite errors have arisen from the 
notion that beauty is a mere ideality, subject to 
no law but the caprices of fancy or the vagaries of 
imagination ; it has led the artist to look upon the 
artisan as a mere mechanical instrument for sup- 
plying necessities, and the artisan to regard the 
artist as a minister only to useless luxuries. But 
there is an Art- Union profitable to both, and the 
closer that union is drawn, the more will the in- 
terests of all parties be advanced. There are com- 
mon elements in their several labours, distinct 
and remote as are their several employments. 
Both must rest their hopes of success on contriv- 
ance and adaptation ; and there never was any 
mechanical contrivance which did not soon extend 
its improving influence beyond the sphere of that 
department of business for which it was originally 
and specially invented. Contrivances introduced 
in the lathe, to improve the ornaments of house- 
hold furniture, have aided in giving perfection to 
the steam-engine and the locomotive: the first 
hint of the improved chain-cable was taken from 
a jeweller’s happy thought in adding novel orna- 
ments to a necklace. 

Little more need be said to show the importance 
of this Art-Union — this desirable combination of 
the Fine with the Useful Arts. The establish- 
ment of a school of design has associated the 
artisan with the artist, elevating the former, and 
not degrading the latter. But the work is only 
begun ; much, very much, remains to be accom- 
plished before this Art-Union attains the de- 
sirable consummation of which it is evidently 
susceptible. Every branch of mechanical trade 
must have the desire of higher Art than direct 
and immediate result circulating through its en- 
tire system, Every artisan must learn to feel that 
he is nimself a teacher, a guide, or a perverter of 
taste, in every article that passes through his 
hands. If he produces barbaric forms and dis- 
proportioned shapes, he habituates those who use 
them to barbarism, and the influence of such an 
habituation has a much wider range than those 
who have not considered the subject would readily 
believe. But the artisan who neglects form, does 
immediate mischief to himself — he neglects the 
most pregnant source of invention, and shuts 
against his own business the road which in every 
age has most directly led to improvement. In 
the present state of society there must be an in- 
creasing disproportion between the wages of 
skilled and unskilled labour; mere boue and 
muscle cannot stand in competition with steam 
and iron. But no combination of shafts, wheels, 
and driving straps can ever be brought to think ; 
and consequently the artisan who infuses thought 
into his work, can alone bid defiance to the com- 
petition of machinery. 

Looking, as we do, to the closer junction of the 
Fine and the Useful Arts as a desirable element 
of National Education, inasmuch as it will mul- 
tiply, to a limitless extent, silent teachers of good 
taste in every article of domestic use ; and regard- 
ing the more intimate connexion of the artist and 
the artisan as the means by which so desirable an 
object may be attained, we have determined to 
devote our attention to a subject so very import- 
ant ; and the importance of which is beginning to 
be extensively felt and appreciated. We shall 
look around us, therefore, for all matters that 
may fall within the scope of our purpose — and turn 
particularly to 14 the School of Design’ ’ in Lon- 
don, and the branches from it that exist in va- 
rious parts of the kingdom. For the present we 
content ourselves with thus intimating our in- 
tention. 


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.oogie 


1842 .] 


THE ART- UNION 


15 


THE HOLY LAND, 

EGYPT, ARABIA, AND SYRIA*. 

Thb publication of this work has been anxiously 
looked forward to, since its first announcement. 
In late exhibitions all the works contributed by 
Mr. Roberts have been representatives of Eastern 
scenery ; and the singular merits of these have 
attracted attention largely to the present produc- 
tion. Mr. Roberts has been long known to the 
world as a painter of uncommon power, and un- 
impeachable accuracy in architectural subjects; 
and had the interest of his Moorish architecture 
never been exceeded, his name would rank among 
artists of the most honourable reputations. The 
drawings of the French Commission in Egypt were 
regarded as authorities on matters relative to the 
scenes of the great events described in the Sacred 
History of our religion : but they have been pro- 
nounced incorrect ; so has also De Laborde’s Petra. 
It was, therefore, the enthusiastic hope of repre- 
senting faithfully the modern aspect of the Holy 
Cities, that urged Mr. Roberts to the arduoas and 
really perilous enterprise of traversing the deserts, 
amid which the sites of many of them must be 
sought. But even were previous works irreproach- 
ably correct, tastes, however inveterately national 
(we allude to the French themselves), must be 
raised from them to the present, which in real 
worth leaves them all at an immeasurable distance. 
And this, be it remembered, is not the work of a 
Government Commission, but of an individual 
who thus in a manner surpassingly beautiful il- 
lustrates the prophecies and miracles — the inde- 
structible citadels of Christian Hope. 

We cannot omit some mention of the journies 
undertaken by Mr. Roberts for the purpose of 
making the sketches, from a selection of which 
this work has resulted. He left London on the 
31st August 1838, and arrived at Alexandria on 
the 24th of the following September, provided with 
introductions from the Foreign-office to Colonel 
Campbell, the British Consul General in Egypt 
and Syria, by whom every facility was afforded for 
the accomplishment of the enterprise. He pro- 
ceeded to Cairo with letters from Colonel Camp- 
bell, which were the means of procuring him a 
courteous reception and protection while sketch- 
ing. In his searches for scenery worthy of his 
pencil, he was everywhere attended by a guard, 
and such was the distinction with which he was 
treated, that he was permitted to visit such of the 
mosques as he desired — a privilege never before 
granted to any Christian. To this immunity only 
one condition was appended, and that was, that he 
should not, in working, employ any implement 
made of hog's -bristle*. From Cairo, Mr. Roberts 
attended by an Arab servant, went up the Nile in 
a boat with a crew of eight men under a com- 
mander, and provisioned for three months. Thus 
accompanied, he ascended the river to the second 
cataract Wady Haifa ; and before he again reached 
Cairo had made drawings of every object of inter- 
est from the extremity of Nubia to the Mediter- 
ranean. He then prepared to visit Petra, called 
by. the Arabs Wady Moosa. He had intended 
originally to enter Palestine by El Arish and 
Gaza, but he pursued the route of the Israelites to 
Mount Sinai through the desert. He was on the 
8th of February 1839, joined at Cairo by Mr. 
Pell and Mr. Kinnear: and the party having 
assumed the Arab dress, they proceeded on their 
journey with a train of twenty-one camels, and 
escorted by several Arabs, all well armed. 

They arrived on the 27th at the fortress of 
Akaba on the Red Sea, where the Arab guard 
which had conducted them thus far returned, and 
was replaced by men of another tribe. On the 
6th of March the party reached Mount Hor, at 
the base of which lies the excavated city of Petra 
— the Idumea of the Greeks— the Edom of the 
Scriptures, exhibiting an awful fulfilment of the 
prophecy of Jeremiah. — “ Also Edom shall be a 
desolation ; every one that goeth by it shall be 
astonished, and shall hiss at all the plagues 
thereof.'’ Mr. Roberts and his companions were 
the first that had been permitted to encamp within 
Petra, and they were admitted only after a violent 
dispute, and the payment of a sum of money. 
Their stay there was limited to five days, which 

* The drawings by David Roberts, R.A. The letter- 
press by the Rev. George Croly, LL.D. Lithographed 
by Louis Hsghe. Published by F. G. Moon. 


term had not even expired before they were com- 
pelled to quit the place, being assailed by the in- 
habitants, between whom and the tribe forming 
the escort, there existed a spirit of enmity. Dur- 
ing, however, this brief space, Mr. Roberts was 
indefatigable in his labours, and it is to be hoped 
that he bade farewell to the Arab dwellers in the 
rocky eyries of Petra, having accomplished the 
objects of his visit. He then journeyed towards 
Jerusalem, but the plague prevailing there he 
proceeded to Gaza, Askelon, and Jaffa ; and 
visited Jerusalem when that city was pronounced 
in a more healthy state. He afterwards proceeded 
to the Dead Sea, the Lake of Tiberias, the sea- 
coast and mountain range of Lebanon, and the 
ruins of Baalbec. On his return home, the exhi- 
bition of the contents of his portfolio excited ad- 
miration so general as to give rise to the publi- 
cation of a selection of the drawings in the present 
form. 

The work appears in large folio, with descrip- 
tive letter-press, and a History of the Jewish 
People, written by Doctor Croly in a strain of the 
urest eloquence. Even the title of it is grand, 
eing the lien of the whole, the simple word 
“ Israel." The drawings are appropriately pre- 
ceded by a wood engraving of the armorial ensigns 
of Jerusalem as assigned to Godfrey of Bouillon 
and his successors, by the leaders of the Crusade. 

Some of the drawings are taken off the stone on 
tinted India paper, and to the style of the litho- 
graphy no praise of ours can do merited justice. 
The ample title-page is enriched by a very large 
vignette — 1 The Entrance to the Holy Sepulchre,’ 
the fa 9 ade of which has two large arched portals, but 
one of which has been walled up, and above these 
two windows corresponding. The architecture is 
made out of a marriage of the Greek and Gothic. 
These entrances have on each side a triad of lateral 
pillars, supporting friezes occupying the span of 
the arch, on which is carved the triumphant entry 
of our Saviour into Jerusalem. The doors are 
thronged with figures, and others are upon the top 
of the building extending draperies over the 
faqade, as is customary during the celebration of 
the great festivals of the Greek Church. 

The body of the number contains — ‘ The Gate 
of Damascus at Jerusalem’ — 4 The Greek Church 
of the Holy Sepulchre’ — 4 The Tomb of St. James’ 
— 4 Jerusalem from the Road leading to Bethany' 
— 4 The Entrance to the Tomb of the Kings,’ and 
4 The Mosque of Omar on the'ancient Site of the 
Temple.’ Of these, 4 The Gate of Damascus,’ 

4 The Tomb of St. James,’ and 4 The Entrance to 
the Tomb of the Kings,’ are plain, with the lights 
heightened with white, and although large litho- 
graphs, are treated as vignettes. The others oc- 
cupy the entire page, and are coloured after the 
original drawings. 

The gate of Damascus is one of the gates of 
Jerusalem, and is so called because it opens on 
the road to Damascus : this, however, is the name 
given to it by Europeans — by the natives it is 
called Bab-el-Araud, or the Gate of the Pillar. 
The architecture is Saracenic, and although more 
ornamented than the others, it has yet a plain ap- 
pearance. The immediate foreground is occupied 
by men and camels ; apparently the rendezvous of 
a caravan about to travel to the north. The 
lithographer imitates admirably the spirit with 
which Mr. Roberts usually puts in his figures, 
which here, on examination, display the varieties 
of Turkish, Greek, and Arab costume. 4 The 
Greek Church’ is an interior, and is of necessity 
gorgeously coloured, as it contains a profusion of 
richly variegated marbles, gilding, and gold and 
silver lamps, which are kept continually burning. 
This plate represents the ceremonial of Greek 
worship, as witnessed by the artist on Palm Sun- 
day, 1839, and at the point of time when the 
bishop has taken his place in front of the altar. 

The 4 Tomb of St. James’ is one of the four 
sepulchres in the valley of Jehozaphat, on the 
eastern side of the Kedron, and is an excavation 
with an ornamental portal of Greek and Egyptian 
architecture. 

4 Jerusalem from the Road leading to Bethany' 
is a sketch reminding us much of another work of 
Mr. Roberts — his exhibited view of Jerusalem of 
the last year. The foreground is occupied by the 
rocks and chasms of the Mount of Olives, and the 
city rises bounding the horizon at no great dis- 
tance above the spectator. The mosque of Omar 
is of course the principal object, and the line of 


buildings is on every hand cut by minarets rising 
from all quarters of the city. 4 The Entrance to the 
Tomb of the Kings' is so named because it is be- 
lieved to have been the burial place of some of the 
Jewish monarchs. It is situated north of the 
Damascus gate, on the slope to the valley of Je- 
hosaphat, and strikingly resembles the sepulchres 
of Thebes. It is also much like the tombs of 
Petra, and thence supposed to have been the work 
of Herod, who was of Idumean descent. The 
stone is richly sculptured, but the ornaments are 
broken, and the whole derives much of its effect 
from contrast with the rugged and hanging brows 
of rock which rise above it. 

lu the view of the mosque of Omar, it is 
seen as from a terrace, which looks down upon 
the Pool of Bethesda. The mosque is on the 
Mount Moriah, and occupies the ancient site 
of the Temple, which is thus accounted for by 
an Arab historian : — When the Caliph Omar 
took Jerusalem, he inquired of the Patriarch 
Sophronius, the most suitable situation for a 
mosque, when the latter pointed out to him 
the ruins of the Temple. The mosque, however, 
in all its modern magnificence was not entirely 
the work of Omar, having received adornments 
and additions from succeeding Caliphs. This edi- 
fice is called by the natives Sakhara (or 44 shut- 
up”) ; and is a regular octagon of about sixty 
feet aside. It has four gates, and the walls to a 
certain height are faced with marble ; but its glory 
like that of the cresent, which soars above its cu- 
pola, is passing away ; for, like all the remarkable 
Mahomedan structures, it is falling into decay. 

In the foreground are grouped a party of Greek 
Christians on pilgrimage to Jerusalem. They 
stand on a terrace of the dilapitated Church of St. 
Anna, which is built over the grotto, shown as the 
birth place of the Virgin ; and are turned in devo- 
tion towards the Holy Sepulchre. 

It is impossible adequately to describe the beau- 
ties of this work in all its departments. The exe- 
cution and printing of the lithography places us, in 
this particular style, at the head of the list of Na- 
tions that value and cultivate the Art. It is care- 
ful, yet decided ; and withal soft to an extraor- 
dinary degree. The general shadows are pure and 
clear ; and the accidental shadows with other de- 
grees of depth not less so. The serenity and re- 
pose of the Eastern sky are expressed by the 
treatment of main objects — these throw off a sky 
which sufficiently proclaims the climate, if other 
things were wanting to bespeak the land. 

Coming before the world with the highest claims 
to consideration, as well in respect of its literary, as 
of its pictorial department, this work cannot be con- 
sidered as of that mere temporary interest which 
is begotten of novelty ; but it must remain a great 
standard work of reference in all questions con- 
cerning the subject- matter of which it is constituted . 
It sets before us as facts of yesterday, the events 
described in the New Testament ; and illustrates 
the invincible truths of the Old. The objects de- 
scribed by the pencil of Mr. Roberts, are bound 
up in association with things most sacred ; they 
are scattered throughout lands wherein our reli- 
gion was first preached ; and where had prevailed 
the older rites of the Jewish nation, of whom Dr. 
Croly says, 44 In language astonishing for its vivid- 
ness, awful for its divine indignation, and appalling 
for its historic reality, we see their successive suf- 
ferings; first, in the pestilences and famines of 
the land ; then in the captivity ; then in the 
Roman invasion, and the horrors of the seige ; 
and finally in the great dispersion ; the whole pre- 
diction, like some vast picture in the skies, giving 
us, at a glance, the portraiture of those most 
powerful changes and deep calamities, which for 
three thousand years have gone on beneath, rea- 
lizing on the surface of the world.” 

The impressive eloquence of the accomplished 
writer, the master-genius of the great painter, the 
unrivalled skill of the ablest lithographer, and the 
ability displayed by the subordinate labourers in 
the production of this noble and beautiful work, 
combine to class it foremost of the productions of 
the age and country. It is, in truth, a publica- 
tion of which the nation may be proud ; which in 
other countries the nation would assist in render- 
ing successful. We trust — and with entire con- 
fidence in the issue — that the enterprising pub- 
lisher will be recompensed as he deserves. 


Digitized by i^ooQle 



16 


THE ART-UNION. 


[Jan. 


ART IN THE PROVINCES. 

Manchester.— The Exhibition has closed. Consi- 
dering: the depressed state of trade, in this trade-empo- 
rium, the results are by no means discouraging. The 
“ Art-Union” subscriptions amounted to db 875, being 
an increase on those of last year ; the sales altogether 
reached €1200. The following is a list of the pictures 
sold, with the names of the artists and purchasers 
4 An Interior,* W. Muller, T. W. Winstanley, Esq. 

4 On the Thames— Moonlight,* E. Childe, S. Lowcock, 
Esq. * Borrowdale, Cumberland,* T. Baker, E. P. 
Thomson, Esq. ‘ Rocky Landscape,* J. Tennant, J. 
Atherton, Esq. * Vale of Avoca,’ T. Creswick, J. Hol- 
land, Esq. 1 A Shady Lane,* H. Jutsum, E. P. Thom- 
son, Esq. 4 Landscape, Composition,’ J. Tennant, B. 
Hick, Esq. 4 Sancho’s Feast,’ F. P. Stephanoff, W. 
Archer, Esq. 1 A Little Beggar Boy of Rome,’ F. Y. 
Hurlstone, G. Nelson, Esq. 4 Barmouth Sands,* A. 
Clint, R. Christie, Esq. 4 On the Rhine,’ J. B. 
Crome, B. Hick, Esq. 4 A Village Alehouse,’ H. Jut- 
sum, T. W. Winstanley, Esq. * A Moonlight,’ J. B. 
Crome, J. Woollam. * Returning from Pasture,’ H. J. 
Boddington. S. Pincoflfs, Esq. 4 Boats off Lowstoffe,* 
M. E. Col man, W. M'Clure, Esq. 4 Autumn,* H. Jut- 
sum, S. Partridge, Esq. 4 Calais Pier,* J. Wilson, B. 
Hampson, Esq. 4 Waiting for the Boat,’ W. Shayer, 
J. Coats, Esq. 4 Irish Hospitality,’ J. Zeitter, Dr. 
Slack. 4 A Road-side Inn,’ C. Hanson, T. Gerrard, 
Esq. ‘Dead Game,* G. Stevens, E. Titley, Esq. 

4 Erith on the Thames,* J. Tennant, T. W. Winstanley, 
Esq. 4 Pastoral Figures,’ H. Le Jeune, J. Satterfield, 
Esq. 4 The Poultry Cross,’ E. Hassell, Lot Gardner, 
Esq. 4 Reflection,* W. S. P. Henderson, S. Webster, 
Esq. 4 The Enraged Guardian,’ W. Kidd, T. Gerrard, 
Esq. 4 On the Thames,* J. W. Allen, P. Martin, Esq. 

4 The Killing Twist,* W. P. Frith, T. Pfckford, Esq. 

4 The Belgian Church, Bonton, G. Bury, Esq. 4 Au- 
tumn,’ H. J. Boddington, G. Bnry, Esq. 4 Near 
Ramsgate,’ Miss C. Nasmyth, Miss Eckersley. 4 A 
Lane at Nacton,* A. Vickers, G. Armstrong, Esq. 4 End 
of the West Pier, Calais,’ H. Lancaster, J. Smith, Esq. 

4 Distant View of Ryton,’ T. Baker, J. P. Wcsthead, 
Esq. 4 The Sands at Dieppe,* H. Gritten, R. Stuart, 
Esq. 4 Village Scene,’ H. J. Boddington, R. Chaffer, 
Esq. 4 A River Scene— Moonlight,* T. C. Holland, T. 
Board man, Esq. 4 A Scene Looking to Gloucester over 
the Forest of Dean,’ R. R. Reinagle, R.A., E. P. Thom- 
son, Esq. 4 The Heart that can feel for Another,* W. 
Kidd, U. Cooke, Esq. 4 Profit and Loss,’ R. J. Hamer- 
ton, H. Pooley, Esq. 4 Falstaff, Bardolph, and Dame 
Quicklev,* W. K. Keeling, J. B. Statham, Esq. 4 An Old 
Staircase at Rouen,’ G. H. Hine, T. W. Winstanley, 
Esq. 4 Vicar of Wakefield,’ Miss E. Sharpe, Dr. Slack. 

4 View of Durham, T. M. Richardson, Dr. Slack. 4 Re- 
gardez,’ T. S. Robins, H. Birch, Esq. 4 Uncle Willy’s 
Workshop,’ R. R. Scanlan, W. Mould, Esq. 

The prize offered by the Institution of €50, and the 
Hey wood medal in gold, have, it appears, been adjudged 
to Mr. Fisk, for his picture of the * Conspiracy of the 
Pozzi, (it will be remembered in the Royal Academy) 
ua“ the best Interior entitled to contend for the prize.” 
Now, the impression left upon our minds by this paint- 
ing makes us somewhat astonished at the decision ; a 
work of high class it certainly is not ; and as certainly 
there are paintings of a much better order in the col- 
lection ; but the committee, very unwisely, we think, 
limited the competition to 44 Interiors,” and it was 
pretty nearly 44 Hobson’s choice.” There was one in- 
terior by Mr. Muller, of surpassing merit ; but as this, 
we understood, was not 6ent by the artist, it was ex- 
cluded from selection— a great mistake, we very hum- 
bly submit ; for although a society may not, and per- 
haps ought not, to jmrehase pictures forwarded to 
them by dealers, the principle cannot apply to the 
minds tnat produced them. The Hey wood medal, in 
silver, and €10, have been awarded to Mr. E.Corbould 
for his drawing of 4 The Tournament,’ as 44 the best 
water-colour drawing entitled to contend for the prize.” 
The engraving selected for distribution to subscribers 
to the Art-Union is 4 The Gentle Shepherd,’ engraved 
by Bromley, from a painting by Johnston ; it was pub- 
lished some months ago. 

Birmingham.—' T he Exhibition of the Birmingham 
Society of Arts has also closed. The sales of works of 
Art have amounted to €1800. The following is a list 
of the pictures sold 4 Moonlight.’ W. Knock ; 4 Cat- 
tle,* J. Willis; 4 Near the Zuyder-Zee— Moonlight,* J. 
B. Crome; 4 The Tagus, Lisbon in the distance,* J. 
Holland ; 4 River Scene, Derbyshire,’ T. Baker ; 
4 Landscape— Scene in Lathkill Dale, Derbyshire,’ H. 
Harris; 4 St. Cecilia,* J. Hollins; 4 Italian Peasant 
Boys — card playing,’ F. Y. Hurlstone; 4 View of Ben 
Lomond, seen over Macfarlane’s Island from the upper 
end of Loch Lomond— Evening,’ C. Fielding ; 4 Market 
People crossing the Lancaster Sands,’ David Cox; 
4 Italian Girl,* R. Rothwell; 4 Hoar Frost,’ H. H. 
H. Ilorsley ; 4 The last Sigh of the Moor,’ F. P. Ste- 
phanotf; 4 The Prisoner,— on incident in the time of 
Philip and Mary,’J. H-. Houston; 4 An Interior,’ H. 
Smith; 4 Landscape and figures,’ E. Bowley; 4 Kes- 
wick Lake, Cumberland,’ Miss J. Nasmyth ; 4 Imogen 
Sleeping, lachimo conies from the trunk,’ W. P. 
Frith ; * Portrait of a Lady,’ Miss A. Mundy; 4 An old 
Weir on the Medway,’ H. J. Boddington; 4 Sunset,’ 
W. Havell ; 4 At Beccles— Moonlight,’ J. B. Crome; 
4 Nature’s Toilet,’ A. J. Wooliner; 4 Study of a Tree,’ 
Mrs. Apsland; 4 Wash Mill, near Yardley, Worcester- 
shire,’ F. H. Henshaw ; 4 Giddy Youth in Ancient 


Garb,’ T. Clater; 4 Fishing Trap, Berkshire,* J. 

B. Pyne ; 4 The Political Barber, * T. Clater ; 

4 Village Girls at a Spring,* Wm. Shayer; 4 A 
Smuggler looking out,’ H. P. Parker ; 4 A De- 

tachment of Cromwell’s Cavalry surprised in a 
Mountain Pass,’ T. Woodward ; 4 Fishermen on the 
look out,* W. Shayer; 4 Cottage Scene near Tunbridge,* 
H. J. Boddington; 4 High Tor, Matlock,’ T. Baker; 

4 Landscape,’ W. Enoch ; 4 The Quartette,’ C. Dukes ; 

4 View from near the summit of Helvellyn, Cumber- 
land,’ A. Vickers ; 4 Trout Stream at Seniogie, North 
Wales,’ J. B. Pyne ; 4 Hampstead Heath,’ Miss. C. 
Nasmyth ; 4 At Water Gate, near Newport, Isle 
of Wight,* A. Vickers; 4 Entrance of the Med- 
way at Sheerness,’ A. Vickers; 4 The Luncheon,’ 
G. Wallis ; 4 Landscape, ’ E. Bates ; 4 Land- 

scape,’ W. Enoch; 4 I)olly Varden,’ W. P. Frith; 

4 Fruit,’ J. C. Ward ; 4 The Rabbit Fancier,* J. Bate- 
man ; 4 Tired Companions.* W. Shayer ; 4 Brood of 
Chickens,’ T. Woodward; 4 The Cowherd,’ William 
Shayer; 4 The Young Dairymaid,’ P. F. Poole; 4 Sheep 
Washing,* H. J. Boddington ; 4 Contented Cottagers,’ 
W. Shayer; 4 St. Georgio Mag^iore, Venice,’ J. Hol- 
land; 4 Breaking up of the Wreck— Morning, dead 
calm,’ R. Macretn ; 4 Carefulness,’ water colour, A. H. 
Taylor; 4 Negligence,’ ditto, A. H. Talor; 4 The Lake 
of Zurich,* Switzerland, A. Vickers. 

Nkwcastlk-under-Lyne. — An Art-Union is in 
progress in this populous and prosperous town. The 
neighbourhood of 44 the Potteries” is especially in- 
terested in promoting the Fine Arts, for they cannot 
fail to produce a moral salutary effect upon its articles 
of manufacture. An annual exhibition is to be asso- 
ciated with the Institution. The subscription is no 
more than 5s. ; and it appears that a print in litbo- 
raphy is to be executed from one of the pictures cx- 
ibttea. 

Plymouth.— Second Annual Exhibition of Water 
Colour Drawings. This Exhibition has closed. A pro- 
vincial Exhibition of Water Colour Drawings only 
has, we believe, never been attempted in any other 
town, and we are glad to learn that the experiment has 
been a successful one in Plymouth. The attendance 
was good ; and drawings to the value of sixty pounds 
were sold. The prize offered for the best drawing 
by native artists, was awarded to Mr. Samuel Cook, 
of Plymouth ; and the prize for the best amateur draw- 
ing to Miss Lavers, for a very splendid group of 
flowers from nature. Many fine drawings were con- 
tributed by Carbould, Penley, Fahey, Oliver, Brierly, 
and other distinguished London nrtists. 

Scotland.— The Royal Scottish Academy have pub- 
lished their Fourteenth Annual Report; it is a very 
gratifying document, informing us that 44 there has 
been evinced a greater interest and increasing intel- 
ligence in those objects for which the Academy exists;” 
that 44 sales” in Scotland have been considerably aug- 
mented ; that the “schools” are prospering ; and that 
44 in establishing a life-academy, and in furnishing 
eminent examples for the study of their students, the 
views of the Academy have been in some degree re- 
alized.” It refers, in a very touching manner, to the 
loss sustained by the death of Wilkie, and alludes to 
the appointment, in his stead, of Mr. Allan to the office 
of limner to her Majesty for Scotland. The report 
concludes with this important passage : — 44 Perhaps on 
no former occasion in this country, did so manv cir- 
cumstances concur in calling forth the energies of Art ; 
for, whilst large numbers of all classes have of late 
years come forward to manifest their interest in Art 
and its promotion, in a variety of ways, the attention 
of the public has been directed with much interest to 
the inquiries of a Special Committee of the House of 
Commons recently appointed, with a direct reference 
to the decoration of the New Houses of Parliament by 
means of Painting and Sculpture ; from whose report 
the most sanguine grounds of hope are afforded, that 
a great national work of Art is to be demanded by the 
country at the hands of its artists. Should such hope be 
realized, it requires little foresight to be enabled to 
predict, that from such a great public work would 
spring very many emulative efforts in the decoration 
of public buildings aud private mansions, not to men- 
tion the necessary and attendant effects which would 
result in every department of Art.” 

Fifth Annual Exhibition of the Edinburgh 
Society of Artists.— The members of this body, 
although considerably reduced in number by the in- 
tervention of death in some instances, and desertion 
in others, are not apparently dismayed by this circum- 
stance, but are sufficiently energetic and talented to 
fill up most satisfactorily the voids left by those whose 
contributions were generally more numerous than va- 
luable. Their exhibition, which opened on the 25th 
of December, is not only better than any which 
preceded it, but it manifests so decided an improve- 
ment as cannot escape notice from even the most 
casual observer. The proportion of portraits is un- 
usually smnll, compared with that or any exhibition 
which has been opened in Edinburgh. In addition to 
a number of very excellent works by the members, 
there are some exquisite pictures by a number of 
English and Scottish artists, who have no further con- 
nexion with the body tlian simply as exhibitors; many 
productions, by the English contributors in particular, 
are of a very high character in their respective styles 
of Art. The whole arrangements of the Society, so far 
as can be judged by a casual glimpse, are indicative of 
a well-concerted plan and a most judicious application 
of the resources within control of the body, and have 


resulted in a collection of works richly entitling it to 
a large share of public patronage. 

Report of the Committee of Management of the 
Association for the Purchase of British Engravings for 
the year 1840-41. This report affords gratifying evi- 
dence of the success of the institution, by the great 
number of new members who have joined it during the 
past year. It is, however, to be regretted that the 
report maintains a most mortifying silence upon the 
subject of its financial arrangements, not even the 
most distant allusion being made to any of these 
very important details. How is this? the Scotch are 
generally considered to look pretty sharply after the 
44 bawbees,” and the total absence of any hint as to 
their whereabouts in this report looks rather ominous. 

Dublin.— The Royal Irish Art-Union progresses 
44 famously;” and there is good reason for believing 
that its funds, this year, willamount to between €3000 
and .€4000. The appointment of Earl de Grey to the 
Lord Lieutenancy has contributed greatly to forward 
the object of its founders : his Excellency has become 
its Patron; and has aided in making the “Arts” 
fashonable where a few years ago they were utterly 
neglected. But no doubt the success of the Institution 
has been largely advanced by the issue of the beautiful 
print of 4 The Blind Girl at a Holy Well ;’ for a copy of 
which we have reason to know many persons have 
given three guinea tickets for the next drawing, to the 
few pos8esso~rs of it who were willing to part with it 
on such terms. The print now in the hands of Mr. 
Sangster (engraving in line) from Mr. Rothwell’s 
picture of 4 Noviciate Mendicants,* will, we are as- 
sured, be of equal value and interest ; and become, 
hereafter, equally scarce. We hope, therefore, that 
many of our English readers will be 44 wise ” enough to 
subscribe to this Society, for they may secure a cer- 
tainty of obtaining a print fully worth a guinea with 
the chance of securing a valuable picture. Especially, 
we entreat the English artists to bear in mind that the 
Institution willhave at least .€2000 — perhaps €3000 — to 
expend on the purchase of Paintings ; and that the 
selection is not limited to the works of Irish Artists. 

Irish Artists will be, we trust, as they ought to be, 
preferred ; but we are certain that if good pictures be 
contributed, they will remain in Ireland. 

THE PAINTER’S HOME. 

By the dark lake, deep and still. 

While the mist creeps o’er the hill ; 

By the rippling, gurgling, brook, 

Where lilies gladden many a nook ; 

In the wild and fierce ravine, 

Where Nature in her wrath has been, 

And angry rivers rush in foam ; 

There— there the Painter finds bis home ! 

By the cottage few can see, 

Where sweetly sings the breeze, or bee; 

By aged oaks, and waving willows ; 

— Or on the shore of surging billows ; 

Where, in the light of morning grey, 

The tall trim vessel sails away, 

Thousands of unmark’d miles to roam ; 

There — there the Painter finds his home ! 

Or on the hoary mountain high, 

W r hose topmost crags have met the sky, 

And the eagle lives alone — 

The barren rocks are all his own ; 

Or in some gentle moon-lit scene, 

W r bere fairies trip it on the green, 

Unscared by satyr, saint, or gnome ; 

There — there the Painter finds his home 1 

Where the crystal fountains run, 

Through brakes half hidden from the sun, 
Dancing and surging through the glen, 

To cheer the souls of studious men ; 

Or rushing onward, bright and free, 

Like young life full of strength and glee, 
Heedless and careless where it roam ; 

There — there the Painter finds his home ! 

By towers, with tokens of Old Time, 

To tell of glory, grief, or crime ; 

Bv tombs, that owe tradition all, 

"When men their tenants’ fame recal ; 

And where the ivy, thick and dark. 

Rolls round a broken wall, to mark 
The ruins of some sacred dome ; 

There— there the Painter finds his home ! 

W T here Nature, in eternal youth. 

Still teaches beauty, grace, or truth, 

And opes the book where all may find 
Sweets for the senses, heart, and mind ; 

Where pleasant fancies, lessons sage, 

The student meets in every page, I 

Who reads her full and fertile tome ; 

There — there the Painter finds his home ! 

S. C. Hall. > 


Digitized by v joogle 



1842 .] 


REVIEWS. 

Pilgrims coming in Sight of Rome. Painter, 

C. L. Eastlake, R.A. Engraver, G. T. Doo. 
Publisher, F. G. Moon. 

Mr. Doo deservedly ranks at the head of our Bri- 
tish engravers ; and has obtained an European 
reputation ; he blends, in the happiest manner, 
vigour with delicacy. There are, in the produc- 
tions of his burin, no hard lines cut in for effect ; 
yet he makes no undue sacrifice of streugth to 
softness. Every touch bespeaks the master ; and 
while^the more important parts are wrought with 
marvellous care and finish, there is not a portion, 
however comparatively insignificant, that bears 
tokens of a “ prentice han’.” Industry is a valu- 
able attendant upon Genius ; to complete a great 
undertaking, they must labour together. They 
have done so to produce the work under notice. 
It is an acquisition to the Nation ; an important 
gift to mankind ; and will go very far to test the 
universality of an appreciation of entire excellence 
in a production of Art. If this print be not suc- 
cessful beyond precedent, we shall almost abandon 
hope that enduring worth will ever be preferred 
to the mere ephemerides of a season. It is an 
honour to have published it. 

We have commenced by noticing the engraver. 
What shall we say of the painter 5 No living 
artist surpasses him in the higher qualities of Art 
— invention and composition ; in conceptions 
of the sublime and beautiful, and in arrangements 
natural and true. Mr. Eastlake is, indeed, a 
painter for painters ; one who must be held in 
the highest respect and esteem by the best of his 
compeers. But by the comparatively uninitiated 
he will be admired none the less, because he ob- 
tains the suffrages of accomplished judges ; for, 
happily, he has not forgotten that the grand object 
of the artist is to teach by affording enjoyment. 
While, therefore, his execution is of the finest and 
purest character, the subjects he selects are such 
as will please universally. We may refer, for ex- 
ample, to any one of the works he has of late 
years exhibited — * The Christ blessing little 
Children ;* 4 The Monks' — exhibited in 1840 (we 
forget the title, but the picture lives in our me- 
mory) : * Christ weeping over Jerusalem,’ or 
this — one of the most touching of them all— 
4 Pilgrims arriving in sight of the Holy City.’ 

The pilgrims are described in the picture as 
having just reached the summit of a hill that 
overlooks the 44 seven-hill’d city.” The hill is 
crowned by the ruins of a villa of old Rome; the 
broken walls of which shelter a shrine of the Ma- 
donna. The group consists of the aged and the 
very young— even to the babe in the basket- 
cradle ; with men in the prime of life, women 
with their children, and girls on the verge of 
womanhood. Each countenance has its own pe- 
culiar expression ; but all manifest the same feel- 
ing of joy mingled with devotion on approaching 
the goal of so many hopes. The party is led by a 
young mother ; one arm is round her child ; the 
other points out the distant city to those who 
are climbing the steep ; immediately behind her 
stands a pilgrim, his hands crossed over his bo- 
som, gazing down with solemn awe and reverence ; 
kneeling near him is an old white-headed man, 
beside whom his grand daughter, it may be, kneels 
and prays; at her feet is the only indifferent spec- 
tator of the exciting scene — an infant calmly 
sleeping. In the centre of the picture is a noble 
and beautiful group : an eager boy hastens his mo- 
ther onward; a young girl, hulf fainting with 
extacy, is upborne by her parent. All have some 
offering to lay upon the shrine of the Apostle. 

There is no part of the picture that will not 
yield delight ; it is so full of character aud fine 
feeling — and the incidents are so touchingly re- 
lated, that one may examine it again aud again 
with increased enjoyment. 

As we have said this picture will in a great de- 
gree determine the question whether what is really 
and truly excellent cau be appreciated so exten- 
sively as to stimulate to the issue of works of the 
highest merit. We have very little feu r for the 
issue. Independently of its unquestionable value 
as a work of Art, the picture is one that will 
afford only pleasure. It is, indeed, a production 
that cannot fail to elevate the character of the 
British School. 


THE ART-UNION. 


17 


Old English Hospitality. Painter, George 

Cattkrmole. Engraver, J. Egan. Pub- 
lisher, F. G. Moon. 

A Baronial Hall furnished, according to the good 
fashion of 44 the olden time,” with guests who 
have come to ask and receive the rite^ of hospita- 
lity ! It is a noble, and beautiful, and deeply in- 
teresting picture of a custom that, long ago, dis- 
tinguished England ; when the table was laid for 
the poor as regularly as for the rich ; and no one 
demanded food aud shelter in vain : — 

“ Nor was the houseless wanderer e’er driven from 
his Hall, 

For while lie feasted all the great he ne’er forgot 
the small, 

Like a fine old English Gentleman all of the 
Olden Time.” 

Few subjects have ever been more happily treated ; 
the artist has admirably preserved all the cha- 
rateristics of a glorious, though gone-by, age ; the 
hail of carved stone, with the armorial bearings 
of the ancient house ; the falconer indicative of 
the time, and of the rank of the family ; the tables 
to which the servitors are conveying substantial 
dishes; the cheerful tankards ; the yule-log gracing 
the broad fire-place ; the varied guests — from the 
white-haired pilgrim, who with uplifted hands 
44 blesses the meal,” to the nursling in its mother’s 
arms ; and the Lord and Ladyof the mansion glanc- 
ing, from an inner corridor, proudly and gladly, 
over the happy scene! A more emphatically 
agreeable picture was never painted ; it is positive 
refreshment to look upon it. As a work of Art it 
possesses very high merit. The figures, although 
numerous, are admirably grouped and arranged ; 
the boy in the foreground, watching with half- 
wonder the tasselled gentil on the falconer’s 
wrist, is one of the most graceful and effective 
44 bits ” the artist ever painted ; and it is skilfully 
made to contrast with the young mother who, 
heedless of aught else, feeds her infant babe. The 
heads are finely expressed ; aud every portion of 
the work is in excellent keeping. Few modem 
publications are calculated to be more extensively 
popular. It renders justice, too, to the acknow- 
ledged genius of George Cattermole, the produc- 
tions of whose pencil have been, heretofore, usu- 
ally met as mere miniature copies. Mr. Egan, the 
engraver, has performed his part with very great 
ability ; indeed he has toned his work so highly as 
to render it uncertain whether the original is a 
drawing or a painting ; the result of his labours 
cannot fail to be satisfactory to the publisher, who 
will be justified in consigning any picture to his 
hands ; and this is no small advantage when, 
although we have so many mezzotint engravers, 
the number of artists of real power is very limited. 


The Highland Breakfast. Painter, E. 

Landseer, R.A. Engraver, J. Outrim. 

Publisher, F. G. Moon. 

A capital example of the talent of Mr. Land- 
seer; full of truth and character, and painted 
with marvellous accuracy. It represents the in- 
terior of a Highland keeper’s cottage, where a 
youug mother sits nursing her babe, in utter indif- 
ference to the wranglings of the group assembled 
as the breakfast party. The guests are three rough 
terriers and a brace of hounds ; the two latter are 
struggling for the possession of a bone, w hich a 
little sharp-set rascal is ^evidently bent upon ob- 
taining in the melee. The other two are making 
sure of the bird in the hand — devouring rapidly the 
contents of a large tub. The print is an excellent 
one ; the more acceptable, perhaps, because the 
subject is one that no living artist can so com- 
pletely master. 


Europa. Painter, \V. Hilton, R.A. En- 
graver, C. Heath. Publisher, F. G. Moon. 

This is a print that will surely satisfy the critic : 
if not an engraving of the very highest character, 
it is admirably wrought, and elaborately finished 
— perhaps, indeed, it is refined to a fault, and 
bears too prominently the marks of labour. As 
a composition it is one of the finest and most 
effective of the great painter, who, in his efforts 
to elevate the Arts, and direct them rightly , 
never encountered a subject that presented no 
difficulties. He has treated this with amazing 
delicacy ; contrasting, in the happiest manner, the 
horror expressed in the countenance of Europa, 


with the voluptuousness of the admiring water 
nymphs, and the joy of the hovering cupids, who 
ride or gambol round the bird of Jove. The pub- 
lication is a most desirable acquisition to the ad- 
mirers of the artist’s genius— and they are be- 
coming more numerous every day ; in time, the 
list will include all who can appreciate what is 
truly valuable and excellent in Art. 


Dover. Painter, Sir A. Callcott, R.A. En- 
graver, J. Pyk (the etching by the late George 
Cooke). Publisher, F. G. Moon. 

This is a print of a very pleasant character— a 
scene purely and essentially English ; representing 
the white cliffs of Britain, with one of her bul- 
warks floating past them. In the centre a stout 
sloop is stemming the waves. The engraving was 
left unfinished by the late Mr. George Cooke, an 
artist of high and deserved eminence, who brought 
the finest feeling to bear upon professional skill. 


Pair of Landscapes. Painted by J. Con- 
stable, R.A. Engraved by J. Lucas. Pub- 
lisher, F. G. Moon. 

The world is learning every day to estimate the 
genius of Constable— one of many who lived in 
hope of honours from posterity. These prints 
cannot fail to extend his reputation. Great merit 
is always certain to receive justice from Time ; and 
although the object of it be removed from the in- 
fluence of either praise or censure, the conviction 
that it must come is the grand sustainer and 
encourager of energy, but for which power and 
life would both sink under the pressure of con- 
scious excellence unperceived or, at least, un- 
valued. These are delicious publications— full of 
pure truth recorded in rich poetry. The one re- 
presents a peasant opening a canal lock in an open 
country, its vicinity to some populous town indi- 
cated by the distant spire of a church ; the other 
is a lane scene leading to a green meadow, along 
which the sheep are pacing, leisurely followed by 
the shepherd’s dog. Fine and flourishing trees 
shadow it on either side ; aud a clear well, at 
which a boy is drinking, skirts the path. They are 
fine engravings, and will afford abundant pleasure 
to all who look to them either with affection for 
Nature or admiration for Art. 


TO CORRESPONDENTS. 

It will be at once perceived that four pages of the 
extra half sheet given with this number belong to the 
volume for the past year— the title page and contents ; 
and that the other four pages form part of the present 
number. They will fall according to the numerals. 

Wc have arranged with Mr. Pugin for the publication 
of a series of papers, entitled “Modem British Archi- 
tecture,” to be continued monthly— the first of which 
we hope to introduce into our next number with illus- 
trations explanatory of the text. 

Our correspondents must really excuse our publish- 
ing, for some time to come, any further “ specula- 
tions” on Vehicles ; we feel that the subject is fur 
the present exhausted ; and while so many other mat- 
ters press upon our attention, we cannot go on treating 
of this until it has become wearisome. 

44 An Original Subscriber” is assured that the 
sketches to which he refers, in a gratifying man- 
ner, would have been continued, but that we felt per- 
suaded our readers preferred details of a more practical 
character. If we found our correspondent’s opinion at 
all general, they should be resumed. 

We request attention to our plan of introducing 
monthly, or as frequently as we can, notices of im- 
provements in manufactured articles— in order to show 
the great advantages they may derive, or have derived, 
from the influence of the Fine Arts. We desire to in- 
troduce, somewhat extensively, explanatory wood cuts ; 
and shall gladly avail ourselves of assistance to advance 
this very desirable purpose. 

For reasons, which we have explained elsewhere, wc 
are compelled to postpone the publication of several 
reviews of works of Art, illustrated books, &c., which 
we have in type. 

We shall give some details concerning Capt. Taylor’s 
Plan for a Breakwater next mouth. 

RatclifTs Inkstand is an exceedingly ingenious one ; 
we shall describe it in our next. 

We are compelled to let several article* stand over 
till next month ;— among others, a Letter from Mr. 
Weld Taylor, on the subject of Oils and Frescoes; 
some remarks on Professor Green’s Lectures ; Miseries 
of Portrait Painting; and Clay for Modelling. 


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THE ART-UNION. 


COMPANION PRINT TO THE EARL OF STRAFFORD GOING TO EXECUTION, 

BY THE SAME ARTISTS. 

KING CHARLES THE FIRST IN THE GUARD ROOM; 

After sentence of death was passed upon him, the fallen, but yet dignified monarch, calmly enduring the taunts and insults of the brutal soldiery. 
From the beautiful Historical Picture painted by PAUL DE LA ROCHE, for Lord FRANCIS EGBRTON, 
to whom this Print is, by permission, dedicated. 

Engraved in the most highly finished style of Meziotinto, by GEORGE SANDERS. 

Prints, 12s Proofs, £1 Is Before Letters (of which only fifty are taken), £ 1 11s. fid. 

ACKERMANN AND CO., STRAND ; AND TILT AND BOGUE, FLEET-STREET. 


A RTISTS' COLOUR WAREHOUSE, 339, 

OXFORD-STREET, LONDON. 

JABEZ BARNARD begs to inform his Friends and 
Artists generally, that he has opened the above Pre- 
mises with an entirely new and extensive Assortment 


of every requisite for OIL and WATER-COLOUR 
PAINTING ; comprising Metallic and other Tubes for 
Oil Colours, and all the new Vehicles at present in use. 


j. B. respectfully solicits a trial of his fine White, 
prepared for Oil Painting, which is unequalled.— The 
Trade supplied.— January 1842. 


WINSOR AND NEWTON’S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 

FOR OIL PAINTING. 

T IIE principle on which this Tube is con- 
structed is that of squeezing or compressing 
between the thumb and finger, so that the colour is 
always kept gathered up in a compact state, and the 
empty part of the tube remains closed, or compressed 
behind it. 

This tube requires the use of one hand only to eject 
the colour, thus equalling in simplicity the common 
bladder, but without any of its numerous objections. 

The tube is formed of thin metal, which, being im- 
pervious to air, preserves the colour in a perfect state 
for any length of time, and is lined inside with a mem- 
braneous substance , which effectually protects the most 
delicate colour from any chemical action that might 
otherwise arise from its contact with the metal. 

The advantages of these Tubes maybe thus enumerated . 
The preservation of the colour free from skins. 

The cleanliness with which the art of oil painting 
may be pursued, either by artist or amateur. 

The readiness with which the colour may be pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and from danger of bursting or 
breaking. 

Economy in use, and moderate price. 

TO BE HAD WHOLESALE AND RETAIL AT 

WINSOR AND NEWTON’S 
ARTIST’S COLOUR MANUFACTORY, 

38, RATHBONE PLACE, LONDON. 

Price 6d. each Tube filled with Colour. (Cobalt, Mad- 
der Lakes, &c., extra, as usual.) 

PAINTING AND DRAWING MATERIALS. 

R oberson and Co., si, long acre, 

Artists’ Colourmen and Pencil Makers, beg to 
call the attention of Artists and Amateurs to their 
New List of materials for Drawing, Painting, &c., 
manufactured and sold by them. 

In addition to every article hitherto used, it com- 
prises all the New Colours and improved methods of 
preparing them, both for Oil and Water Colour Taint- ! 
ing. 

OIL COLOURS of the finest quality, in Metallic 
Collapsible Tubes, Glass Tubes, and Bladders. 

WATER COLOURS in Cakes and in the Moist State 
for Sketching, &c. 

PREPARED CANVAS for Oil Painting, with Indian- 
rubber, Oil, or Absorbent grounds. 

Flemish ground MILLBOARDS and PANELS. 
VEHICLES and MEDIUMS, prepared from Silica 
and Borax, in bottles and powder, after the recipes of 
Lieut. Hardy, and J. Eagle, Esq. 

Macgelph, Gum Medium, Gumption, and Prepara- 
tion of Copal for Oil Painting. 

WHATMAN’S DRAWING PAPERS, London and 
Crayon Boards, and Harding’s new pure Drawing 
Paper. 

FRENCH BLOCKS for Sketching in Oil and Water 
Colours. 

SABLE and CAMEL HAIR PENCILS, Goat, Hog, 
and Badger Hair Brushes. 

FINEST PURE CU M BERLAND LF.AD DRAWING 
PENCILS, of various degrees of hardness, at the recent 
reduction in price. 

ROBERSON AND CO. have much confidence in 
respectfully stating, that they continue to supply the 
above, ana every other article connected with their 
business, of the very first quality and at the lowest pos- 
sible prices. 

MANUFACTORY, 51, LONG ACRE, LONDON. 


D rawing and painting, No. h, 

TOTTENHAM COURT- ROAD.— Artists, Arti- 
sans, and others, are respectfully informed that a 
Large Room, furnished with Casts from the Antique, 
Ornaments, &c., has lately been opened for STUDY, 
every Monday, Tuesday, Thursday, and Friday even- 
ings, from 6 o’clock till 10. Subscription, 4s. per 
month. 

A Class for the Study of the Living Model meet on 
Wednesday and Saturday Evenings. 

T ” 0 MINIATURE PAINTERS, &c. — W. 

WARRINER, 39, GREAT CASTLE-STREET, 
REGENT -STREET. Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having’been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 

E atronised him, begs further to inform them that he 
as a variety of new patterns, which, for quality and 


price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

BY THE QUEEN’S ROYAL LETTERS PATENT. 

S PILSBURY'S WATER-COLOUR 
PRESERVATIVE. — It has always been con- 
sidered a desideratum to possess a means of giving to 
Water-colour Drawings the durability and fixedness of 
Oil Paintings, without lessening that clearness and 
brilliancy which are the especial characteristics of the 
former. This has at length been achieved by the in- 
vention of the above valuable preparation, which, with- 
out injury to the most delicate tints or change of their 
appearance, and without any false glare of varnish, 
will render Water-colour Drawings capable of being 
washed with Soap and Water, and so impervious to 
dirt, that Ink may be spilled upon them and washed 
off again without leaving a stain. 

Crayon and Pencil Drawings, Coloured or Plain En- 
gravings, may in like manner be fixed and made wash- 
able without any change in their appearance. It will 
be found not less important for giving durability to 
the numerous articles fabricated on fancy paper and 
card-board; to Music and Berlin Patterns; to Shop 
Tickets and Show-boards; and, indeed, to every other 
object of paper exposed to dust and dirt. 

Sold in packages, 4s. each, by the Sole Appointed 
Agents, Reeves and Sons, 150, Cheapside; and by the 
Inventor and Manufacturer, Mr. Spilsbnry, 17, Pall- 
Mall ; where also may alone be seen and had the wash- 
able Kalsomine l’aper-hangings, which possessing 
greater softness and beauty than ordinary papers are 
yet capable of being washed like oil-paint; price from 
2d. a yard and upwards. 

W ARING AND DIMES, 91, GREAT RUS- 
SELL-STREET, BLOOMSBURY, have to re- 
turn thanks for the patronage bestowed upon them by 
their friends, and state that they endeavour to render 
every Article manufactured and sold by them of the 
first quality. 

PREPARED CANVASS, WITH INDIA RUBBER 
GROUND.— This article is the exclusive manufacture 
of W. and D., aud the increase of its consumption 
attests its superiority over the old method ; no crack- 
ing or peeling can possibly take place on the surface. 

METALLIC ZINC TABLETS tor Oil Painting were 
originally prepared by W. and J). Their advantageous 
projK?rties for highly-finished subjects over woud or 
mill-board is generally acknowledged, the surface pro- 
duced being of the finest and most even texture. 

ANTI-TUBE BLADDERS OF OIL COLOUR, which 
have been so much admired on account of their sim- 
plicity and saving. 

WATER COLOURS IN CAKF.S AND BOXES.— 
At the present season, those intending to make pre- 
sents to their young friends are invited to inspect the 
stock of Drawing Boxes at W. aud l).’s establishment, 
which combine elegance and durability, and may be 
had from the price of 5s. upwards. 

W. aud D. have also established a Circulating Port- 
folio of Drawings and Prints, containing Specimens of 
the best Masters. 

An assortment of Lithographic Studies, by Julien, 
Harding, Prout, and other masters. 

White and Tinted Drawing Papers, Chalks, Crayons, 
and all other Articles for Drawing and Painting. 

An assortment of Drawing Boards. 

T Squares and other Mathematical Instruments, just 
received from Paris. 


PAINTING IN OIL.— BROWN’S COLLAPSIBLE 
TUBES, FOR COLOURS, OILS, VARNISH, 
MAGYLP, &c. 

By her Majesty’s Royal Letters Patent, and tinder the 
patronage of the President and Members of the Royal 
Academy. 

T homas brown, colourman to 

ARTISTS in OIL and WATER, begs to return 
his sincere thanks to his numerous Customers for the 
kindness with which they made a trial of the above 
Tubes, merely on his recommendation, and for the ap- 
probation they have so universally bestowed on them. 

To the Members of the Royal Academy in particular, 
he| wishes to express his great obligations; he, his 
Father, and his Predecessor, having been the favoured 
sen ants of the ltoyul Academy from ita formation, 
and having the honour to supply all the Presidents to 
the present time. 

To those Artists and Amateurs who have not tried 
the Collapsible Tubes, he begs to state a few of their 
advantages. 

They are more economical than bladders ; for though 
the price is a little more, the saving they make in colour 
more than balances the extra price. 

They will preserve colour for years; any portion may 
be pressed out at a time, and the remainder (if ever so 
little) will keep good, by reason of the air and light 
being completely excluded. 

They can be conveniently used with one hand, during 
painting, without putting down the palette and brushes ; 
which is the ‘nreat inconvenience of syringes of any sort. 

They are free from smell, from danger of bursting 
and exuding, which is so disagreeable in bladders. 

They are particularly adapted, by their economy, for 
ultramarine, and all the expensive colours; also, for 
magylp and asphaltum, so difficult and inconvenient 
to keep in all other forms. 

They are as light as bladders, more portable, enable 
colour boxes to be made much smaller, are most con- 
venient for sketching from nature, and may be safely 
packed among linen or paper. 

They offer the only perfect mode of sending prepared 
colours to warm climates. 

They may be had of any capacity, from the eighth 
of an ounce to seven pounds and more. 

Their cleanliness is such that the most delicate Ama- 
teurs may now practise Oil Painting without even 
soiling their fingers, thus removing the great nuisance 
of the old method of using Oil Colours, which deterred 
so many persons of taste from indulging in so noble 
an Art. 

Manufactured and Sold, at 163, HIGH HOLBORN, 
London ; where, also, may be had every Material for 
Painting in Oil and Water. 

The trade supplied with Full or Empty Tubes upon 
liberal terms. 

Orders by post attended to immediately. 

ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• comer of M itre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that thev can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and freeof postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M'LEAN, 78, Fleet-street 
(opposite Thk Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 


Digitized by Lr.ooQie 


1842 .] 


THE ART-UNION 


19 


Just published. 

S ketches in Norway, Etched by w. 

J. Blacklock, from Sketches by Bruce 
Skinner, Esq., B.A., Trin. Col., Cam. Prints, 8 s. ; 
fancy cloth, Kilt lettered, 10 s. 6 d. ; proofs on India 
paper ditto, 15s. 

London: J. Robinson, 40, High Holbom. 

THE RIGHT HON. LORD STANLEY, M.P. 
Early in January will be published a highly-finished 

P ORTRAIT of the Right Hon. LORD 
STANLEY, M.P. Engraved by Mr. H. Cousins, 
from the original Picture recently painted by H. P. 
Briggs, Esq., R.A., for the Right Hon. the Earl of 
Derby. — Site of the Engraving, 16$ inches by 12$ 
inches. 

This Portrait is the exact size of Lawrence's cele- 
brated Portrait of Sir Robert Peel, Bart. 

London: Messrs. Colnaghi and Puckle, Cockspur- 
atreet. Manchester: Mr. Agnew, Repository of Arts, 
Exchange-street. 

Just published, in demy 8 vo. (490 pages), price 21 s., 
elegantly bound in cloth, or 30s. in morocco, 

T HE BOOK OF THE POETS, from Chaucer 
to Beattie, with Biographical Notices, and a 
History of the Rise and Progress of British Poetry. 
Embellished with 45 Vignette Illustrations by the most 
eminent Engraver*. 

It contains an entirely new selection from the ample 
range of our National Poetry, in which an attempt has 
been made to give a distinct idea of the excellence of 
each poet, combined with the most scrupulous atten- 
tion to admit nothing that might in the slightest de- 
gree unfit it for universal perusal. 

*** On December 26, was published a Companion 
Volume, containing THE MODERN POET'S (of the 
Nineteenth Century), with the same number of Em- 
bellishments, on precisely the same plan. 

London : Scott, Webster, and Geary : and sold by all 
B ooksel lers. 

Now publishing, beautifully printed and neatly bound 
in cloth, price 7 s., or in six parts at Is., illustrated 
with Water-coloured Engravings. 

T HE COMPLETE GUIDE to the FINE 

ARTS: containing full Instructions in Drawing, 
Oil and Water colour Painting, Portrait Painting, 
Landscape Painting, Miniature Painting, Perspective, 
Crayon Painting, Grecian and Persian Painting, Flower 
Painting, Lithography, Engraving on Wood, Copper, 
&c., and valuable Recipes. 

Part. 1 . contains— The Whole Art of Oil Painting— 
2. Drawing and Sketching from Nature— 3. Drawing 
in Perspective — 4. Miniature Painting— 5. Engravings 
on Wood, Copper, and Lithographic Drawing— 6 . Land- 
scape Painting in Water-colours, &c. Each part com- 
plete in itself. 

T. Sloper, 19, High-street, Maryleboue; and W. 
Brittain. Paternoster-row. 

CIIILDE HAROLD ILLUSTRATED. ’ 
Now ready, royal 8 vo.,^ 2 . 2 s.,or India Proofs, £3. 3s., 

C IIILDE HAROLD’S PILGRIMAGE. By 
Lord Byron. A New and beautifully Illus- 
trated Edition, embellished with Sixty Vignette Engrav- 
ings by Finden, from original Drawings made by 
eminent Artists, and a Alan of the Author’s Route 
through Spam, Portugal, Holland, &c., with Pic- 
turesque Border, and a Portrait of Lord Byron in his 
Albanian dress, never before engraved. 

LIST Or PLATES. 

1 Monument of Lysicrates I 33 Lake Leman 


2 Delphi 

3 Newstead 

4 Cintra 

5 Alafra 

6 Tnlavera 

7 Seville 

8 Spanish Muleteer 

9 Saragossa 

10 Cadiz 

11 Bull-fight 

12 The Acropolis 

13 Temple of Jupiter 

14 Gibraltar 

15 Malta 

16 Ithaca 

17 Yanina 

18 Zitza 

19 Tepalecn 

20 Dance of Palikars 

21 Parga 

22 Constantinople 

23 Colon na 
21 Marathon 

25 Ada 

26 Maison de Roi, Brussels 

27 Soignies 

28 Drachenfels 

29 Ehrenbreitstein 

30 Avcnticum 

31 Mont Blanc 

32 Rousseau 


34 Chillou 

35 Ouchv (Lausanne) 

36 Venice 

37 st. Mark’s 

38 Steeds of Brass 

39 Petrarch’s Tomb at 

Arqua 

40 House 

41 Tasso 

42 Florence 

43 Venus de Medicis 

44 Santa Croce 

45 Thrnsimene 

46 Temple of Clitumnus 

47 Soractc 

48 Rome 

49 The Wolf 

50 Tomb of Cecilia Metella 

51 Rome.— Column of Pho- 

CR9 

•’2 Fount of F.geria 

53 Rome.— Coliseum 

54 The Gladiator 

55 Rome.— Interior of the 

Coliseum 

56 AIolc of Hadrian 

57 Rome.— St. Peter’s (In- 

terior) 

58 The Laocoon 

59 Apollo 

60 Lake Albano 


*** Copies of the work are always kept in morocco, 
and a few sets of the Plates on India paper, can be bad 
in a Portfolio. Price j* 4. 4s. 

John Murray, Albemarle Street. 


132, Fleet Street, London. 

MESSRS. HOW AND PARSONS 

HAVE JUST PUBLISHED THE FOLLOWING BOOKS. 

L 

In 1 Vol. imperial 8 vo. (uniform with “ Ireland,”) 
containing Five Engravings on Steel, after Drawings 
by D. Maclise, R.A., and about Fifty superior 
Woodcuts. Price 25s. elegantly bound, 

SKETCHES OF IRISH CHARACTER. 

BY MRS. S. C. HALL. 

New Edition, with Additions. 

The Woodcuts embrace Scenes, Portraits, and Land- 
scapes from Nature, by the following artists :— 

Painters. Engravers. 

W. H. Brooke, F.S.A T. Armstrong 

N. T. Crowley J. Bastin 

Geo. Cruikshank M. A. Cook 

W. Evans, of Eton . . . . F. Delamotte 

J. Franklin E. Evans 

J. Gilbert T. Gilks 

W. Harvey W. J. Green 

J. R. Herbert, A.R A J. Jackson 

D. Maclise, R.A E. Landells 

R. Me Ian W. J. Linton 

Mrs. Me Ian A. J. Mason 

H. Me Manus J. Nugent 

A. Nicholl, A.R. H.A S. M. Slader 

G. F. Sargent S. Sly 

J. C. Timbrell J. O. Smith 

J. H. Townsend .... J. Thompson 
C. H. Weigall . . . . J. Walmesley 

W. Willes J. Wukeiield 

II. 

In royal 8 vo., with Engravings, price 31s. 6 d., elegantly 
bound, 

THE OLD FOREST RANGER; 

Or. WILD SPORTS of INDIA, on the NE1LGHERRY 
HILLS, in the JUNGLES, and oil the PLAINS. 

By Captain Walter Campbell, ofSkipness. 

THE "FOLLOWING - SUPERIOR WORKS ON THE 
ART OF DRAWING ARE NOW PUBLISHING 
BY S. & J. FULLER, 34, RATHBONK-PLACE. 

B RIGHT’S ELEMENTARY LANDSCAPE 
DRAWING-BOOK, in Eight Nos., Is. each; 
cloth bds., 9 s. 

CIPRIANI’S RUDIMENTS for DRAWING the 
HUMAN FIGURE, engraved by F. Bartolozzi, Two 
Parts, 12 s. each. 

D. COX’S TREATISE on LANDSCAPE PAINT- 
ING, and Effect in Water Colours, from the First Ru- 
diments to the finished Picture, in Twelve Nos., at 5s., 
7 s. 6 d., and 10 s. each, folio super-royal ; or half-bound, 
complete, containing 56 Plates, price J'b. 

D. COX’S YOUNG ARTIST’S COMPANION on 
LANDSCAPE PAINTING in WATER COLOURS, 
price 42s. 

T. S. COOPER’S STUDIES of CATTLE and RUS- 
TIC FIGURES, in Ten Nos., 4s. each; cloth bds., 42s. 

T. S. COOPER’S ELEMENTARY STUDIES of 
CATTLE, in Eight Nos., 2 s. each ; cloth bds., 16s. 

T. S. COOl’ER’S COLOURED IMITATIONS of 
DRAWINGS, in Two Folios, price 52s. 6 d. each. 

S. and J. Fuller beg to call the attention of the Ad- 
mirers and Collectors of Water-Colour Drawings to 
their Rooms, in which will be found beautiful speci- 
mens by the following Masters: — Cattermole, Stan- 
field, Harding, Poole, Bright, T. S. Cooper, Allen, 
Bentley, Pyne, Richardson, Prout, Cox, and all the 
leading Artists of the day. 

OOLOO’S CHINESE CEMENT. — The 

extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c. — Sold, wholesale and 
retail, in bottles at Is. 6 d., 2s. 6 d., 4s. 6 d., and 7s. 6 d., 
by the Proprietor’s sole agents, B1.0FELI) and Co.. 
Cutlersand Razormakers, 6 , Middle-row, Holborn; and 
by their appointment, at the principal Chemists and 
Perfumers. BLOFELD’S London made Table Knives, 
at BLOFELD and Co.’s, 6 , Middle-row, Holborn. 

THE _ C H E A PEST MA N U FACTORY FOR GILT 
AND FANCY WOOD PICTURE FRAMES. 

P GAR HAN AT I, WORKING CARVER 
• and GILDER, 19, ST. M ARTIN’S-COURT, 
St. Mnrtin’s-lane, respectfully informs Artists, &c., 
that as he manufactures entirely on his premises every 
description of ORNAMENTED GILT and FANCY 
WOOD PICTURE FRAMES, he is enabled to offer 
them at such low prices that he defies competition. A 
most extensive assortment of every size Picture Frames 
kept ready. Re-gilding in all its branches in a most 
superior manner, cheaper than by any other gilder in 
the kingdom. Estimates given free of charge. 

P. G. having a large assortment of Picture Frames 
that have been some time on hand, will dispose of 
them at an immense reduction. 

A list of the prices of Plate Glass, Gilt and Fancy 
Wood Picture Frames, &c., sent, pre-paid, to any part 
of the kingdom. 


V OLATILE FIXER, a Preparation to fix 
and secure Coloured Crayon ana Chalk Drawings, 
to prevent their rubbing. Sold in bottles, price 2 s. ana 
Ss. 6 d.— S. and J. Fuller particularly call the attention 
of Artists, Amateurs, and Drawing-Masters to the 
above useful Preparation ; likewise to their permanent 
Coloured Crayons, for Portrait and Landscape Paint- 
ing, fitted up in boxes, price 25s. and £2 10 s. each. 
Specimen Drawings to be seen, and Portraits painted 
in Crayons.— Temple of Fancy, 34, Rath bone-place. 

LOBE I N ~s" U R A N C E, 

Pall Mall and Cornhill, London. 
Established 1803. 

DIRECTORS. 

Edward Goldsmid, Esq., Chairman 
Wm. Tite, Esq., F.R.S., Deputy Chairman. 
Henry Alexander, Esq. i Sheffield Neave, Esq. 
Jonathan Birch, Esq. Fowler Newsam, Esq. 

J.S. Brownrigg, Esq. M.P. William Phillimore, Esq. 
Jonathan Chapman, Esq. Wm. H. C. Plowden, Esq. 
Thomas Collier, Esq. | John Poynder, Esq. 

Boyce Combe, Esq. i Robert Saunders, Esq. 

J. W. Freshficld, Esq. M.P. I Emanuel Silva, Esq. 

George Carr Glyn, Esq. ! Sir Walter G. Stirling, 

Sir 1. L. Goldsmid, Bart., Bart. 

F.R.S. Wm. Thompson, Esq., 

Robert Hawthorn, Esq. Aid., M.P. 

John Hodgson, Esq. Edward Vaux, Esq. 

Boyd Miller, Esq. B. G. Windus, Esq. 

For FIRE and LIFE INSURANCE, and ANNUITIES, 
and the PURCHASE of REVERSIONS and LIFE 
CONTINGENCIES. 

CAPITAL, ONE MILLION STERLING. 

The whole paid up and invested, and entirely inde- 
pendent of the amount of premiums received ; thereby 
affording to persons Assured an immediate available 
fund for the payment of the most extensive losses, 
without liability of partnership, and free from un- 
certainty as to the result of their engagements— which 
the Directors consider to be highly important to those 
who effect Insurances in the capacity of Trustees, or 
otherwise in the performance of a specific trust or 
duty. 

Insurances may he effected with this Company to 
the extent of ^ 10 , 000 , on a single life, if approved. 

(By Order of the Board) 

JOHN CHARLES DENHAM, Sec. 
Rates and Conditions of Fire and Life Insurance, or 
other information, may be obtained at the Offices in 
London, and of the Company’s Agents in the Country. 

Fire Policies due at Christmas must be paid on or 
before the 9th of January. 

UNDER THE MOST DISTINGUISHED 
PATRONAGE. 

N ational floating breakwater, 

and REFUGE HARBOUR COMPANY. 

Capital j£’ 300,000, in 30,000 Shares of £\Q each: de- 
posit £2 per share. To be incorporated by Act of 
Parliament. 

DIRECTORS. 

Rear-Adm. N. Tomlinson | Rear-Admiral Sir Samuel 
Sir Thos. Grey, F.R.S. | Pym, K.C.B. 

Capt. P. M’Quliae, R.N. George Dacre, Esq. 
Montague Gore, Esq., M.P. I Captain Wm. Holt, R.N. 
Trustees— Chris. Pearse, Esq. ; Bcnj. Williams, Esq. 
Bankers— The Bank of England; Messrs. Cockburu 
and Co., Whitehall. 

Auditors— Mr. Jonathan Ball ; Mr. Jas. Chas. Hardy. 
Secretary— John Charretie, Esq. 

Solicitor— Ambrose Clare, Esq. 

Office, No. 61, Moorgate-street, City. 

The reports of the Government Commissioners, and 
the deep interest which has been expressed in Parlia- 
ment, and by all who have the safety of our navy, the 
success of our commerce, and the protection of our 
seamen and fishermen at heart, prove incontestibly the 
absolute necessity which exists for the immediate re- 
paration of all our present harbours, and for the forma- 
tion of at least 250 new ones. The expense which has 
hitherto been one of the insurmountable impediments 
no longer offers any obstacle, as by Captain Taylcr’s 
meritorious invention this Company can form 180 
hnrbours at a less expense than that certified by the 
Government Commissioners as the sum required by 
the old modes for the formation of three. The facility 
of construction enables this new Floating Breakwater 
to be affixed, and harbours of refuge formed, on the 
most exposed parts of our coasts, where not only none 
at present exist, but where also none other than by this 
method can he constructed; smooth water for the safe 
landing of goods and passengers by steamers can he 
ensured at all, even the most exposed piers. 

The Directors have great satisfaction in stating 
that they are in active negotiation with several places 
of the highest maritime importance; and that the 
Admiralty, zealous for the promotion and success 
of the undertaking, have already granted the use of 
anchors and ground moorings to enable Captain 
Tayler’s plan to be put in immediate operation at 
Brighton. 

Prospectuses and other particulars may be obtained 
at the Company’s Office ; at the Solicitor’s, 5, Si se- lane, 
Bucklershury ; and at the office of Somers Clarke, 
Esq., Brighton; where also applications for Shares may 
he made until the 30th of November next, when the 


allotment will be made. 


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20 


THE ART‘U NION. 


[Jan. 1842. 


Mr. MOON, Her Majesty’s Frintseller and Publisher, has the honour to announce 


ROBERTS’S HOLY LAND. 


THE FIRST PART, JSXCUSAX.SM, NEARLY READY; containing 


THE ENTRANCE TO THE HOLY SEPULCHRE. 

THE DAMASCUS GATE. 

THE GREEK CHURCH OF THE HOLY SEPULCHRE. 
TOMB OF ST. JAMES. 


JERUSALEM, FROM THE ROAD LEADING TO BETHANY. 
TOMB OF THE KINGS. 

MOSQUE OF OMAR. 


This Work will be published in Parts, each containing six fac-similes of the original Drawings (taken on the spot), executed in Lithography by Louis Haghr, Esq. 
with an Introductory View of Jewish History, and Historical and Descriptive Notices, by the Rev. Dr. Croly, at £1 Is.; Proofs, £\ Us. 6d. ; and a few copies, 
coloured and mounted in imitation of the original Drawings, £ 2 2s. 

This Work is dedicated, by express command, to her Majesty. 


ITALIAN PILGRIMS COMING IN SIGHT OF ROME, 

From the Original Picture by C. L. EASTLAKE, R.A., in the Possession of the Right Hon. Earl Grey, at Howick Hall; 

Engraved in the highest style of Line, by Georoe Thomas Doo, who, upon the completion of this Work of Art, received the distinguished appointment of Historical 
Line Engraver to her Majesty, as a mark of high consideration of the great talent he has displayed on this refined subject. 

Price— Prints, 4s Proofs, £8 8s Before Letters, £\1 12s. 

Mr. Moon begs to direct attention to the circumstance of this Engraving being uniform in size with * Landseer’s Highland Drovers,’ * Wilkie’s Knox Preaching,’ 
* Cattermole’s Baronial Hall,’ * Bolton Abbey,’ * Maid of Saragossa,’ ‘ Eastlake’s Christ Blessing Little Children,’ and f Christ Weeping over Jerusalem.* 


A BARONIAL HALL IN THE OLDEN TIME; 

OR, OLD ENGLISH HOSPITALITY. 

Engraved from the celebrated Picture by George Cattermole, 

As the Companion to Bolton Abbey in the Olden Time; by Samuel Cousins, A.R.A. j 

This National Work lias excited intense interest from the scene being so truly English. The First Proofs being nearly all sold, early application must be made for the | 
remainder. Prints, j£3 3s Proofs, £5 5s Before Letters, j6“8 8s. 


DEPARTURE OF REGULUS. 

Engraving in line, by Daniel Wilson, late pupil of William Miller of Edinburgh, after the magnificent Picture by J. M. W. Turner, R.A. Size, 21$ inches by 17J. j 

Prints, £1 11s 6d Proofs, £3 3s India Proofs, £\ 4s Before Letters, £6 Gs. ' 

THE CORONATION. j 

Painted by E. T. Parris, Esq., Historical Painter to the Queen Dowager. | 

A Combination of Circumstances, equally flattering and gratifying, enables Mr. Moon now definitely to announce that, by Special Authority, this 
Grand Historical Painting of the Coronation is entrusted to him for immediate Publication. 

This Work of Art will, with the Portrait of Her Majesty, by Chalon, and the Queen’s First'Council, by Sir David Wilkie, form a part of the Regal j 
Gallery of Pictures, illustrating the incidents of the Reign of Queen Victoria, which Mr. Moon has arranged to produce as events may transpire. , 


THE QUEEN RECEIVING THE HOLY SACRAMENT j 

at her Coronation. 

By C. R. Leslie, R.A. 

This beautiful Work belongs to Her Majesty, and Mr . Moon has been honoured by Her Majesty's gracious Commands to have it engraved by Mr. Samuel Cousins, A.R.A. j 

The Price of the Proofs and Impressions will necessarily bear proportion to the great cost of the production of the Engraving, upon which no expense will be spared ; 
and by Mr. Moon’s arrangement with Mr. Cousins, every impression will be delivered through him — a guarantee that they will not be unworthy to display his great ! 
talent, and support his distinguished reputation. 'Hie Price of the Impressions from the Engraving of this Work, which it is just to reiterate contains nearly forty por- - 
traits, will be, to Subscribers, Prints, with the Dedication, £ 12 12s. ; Proofs, with the Royal Arms and Title, £15 15s. 1 


THE WATERLOO BANQUET j 

AT APSLEY HOUSE. ! 

From a Picture by William Salter, Esq., Member of the Academies at Florence, Rome, &c., which he has had the high privilege of painting 

by the especial permission of His Grace the Duke of Wellington, I 

From the actual scene in Apsley House, and has since been honoured with sittings for the portraits by the DISTINGUISHED GUESTS. I 

This most interesting of National Subjects represent* the Annual Banquet at which the surviving heroes of that glorious Victory meet to commemorate, on the 18th j 
of June, the most celebrated event in the Military Annals of our Country. Prints, £ 10 10s Proofs, £12 12 Before Letters, £15 15s. ! 

THE LAST WHOLE-LENGTH MILITARY PORTRAIT OF 1 

HIS GRACE THE DUKE OF WELLINGTON, K.G. 

IN HIS UNIFORM AS FIELD-MARSHAL. 

Painted by J. Lucas, Esq. at Walmer Castle, in November last. The Noble Duke, in expressing his approbation of this work, addressed the Artist in nearly the 
following words : “ Mr. Lucas, I have been torn to death by repeated sittings, and I will never sit for my Portrait again. Those who wish to have my likeness must have * 
a copy from this.” also, 

THE PORTRAIT PAINTED FOR THE UNIVERSITY OF OXFORD, 

IJy the same celebrated Artist. Engraved by S. Cousins, Esq. A.R.A. ! 

Present prices to Subscribers : Proofs with Autograph, £u Gs Lettered Proofs, £\ 4s Prints, £2 2s. For which an early application is requested. ; 


NEARLY READY, 

A FULL-LENGTH PORTRAIT OF THE LATE 

COUNTESS OF BURLINGTON, 

Fainted by John Lucas, for His Grace the Duke of Devonshire, K.G., as a Companion in size to Sir Thomas Lawrence’s full-length Portrait of the 
Duchess of Sutherland and Child. Engraved by Samuel Cousins, A.II.A. 

Prints, £2 2s Proofs, ^4 4s Before Letters, £6 6. 


THE FULL-LENGTH PORTRAIT OF 


FULL SIZE HALF-LENGTH PORTRAIT OF 


THE RIGHT HON. LORD COTTENHAM, 

IN HIS ROBES AS 

LORD CHANCELLOR OF ENGLAND. 

Painted by C. R, Leslie, R-A., and engraving by H. T. Ryall. 
Prints, £2 2%.... Proofs, £k 4s. . . , Before Letters, £6 Gs. 


THE RIGHT HON. LORD LYNDHURST, 

LORD HIGH CHANCELLOR OF ENGLAND. 

Just painted by W. C. Ross, and to be engraved by H. T. Ryall. 

Prints, £1 Is — Proofs, £2 2s India Proofs, s£3 3a. 

Before Letters, with Autograph, £* 4s. 


London: F. G. MOON, 20, Threadneedle Street. 


lAndon Printed (at the office of Palmer and Clayton, 9, Crane Court, Fleet Street), and Published by How and Parsons, 132, Fleet Street.— January 1, 1842. 

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THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&C. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 87. 


LONDON: FEBRUARY 1, 1842. 


Price 8 d. 


THIS JOURNAL BRING STAMPED, CIRCULATES, POSTAGE PREB TO ALL PARTS OF THE UNITED KINGDOM. 


A RTISTS’ AND AMATEURS’ CONVER- 
SAZIONE.— The Members are reminded that the 
SECOND MEETING of the Season will take place at 
the FREEMASONS' TAVERN, on WEDNESDAY, the 
tod of Febru ary. 

A RT-UNION OF ISLINGTON AND 
NORTH LONDON.— This Institution is founded 
on the plan of the Art-Union of London, for promoting 
the extension of taste in the Fine Arts; and for the 
encouragement of Living Artists, while, by the non- 
appropriation of any funds for the production of a 
single engraving, the prizes are relatively greater in 
number and in value. Subscription to the annual 
distribution, Haifa Guinea. Particulars may be ob- 
tained at the Office of the Society, Halton Cottage, 
Halton-street, Islington; of Mr. Winbolt, City of 
London Institution, 105, Aldersgate-street ; and of Mr. 
Tucker, Southwark Literary Institution. 

Thomas W. Bentley,! h ^ 

W. II. BUTTERriBLD, J H ° P SCCg ‘ 

PREPARING FOR PUBLICATION IN ONE 
VOLUME QUARTO, 

D ISCOURSES delivered to the STUDENTS 
of the ROYAL ACADEMY, 

BY SIR JOSHUA REYNOLDS. 
Illustrated by Explanatory Notes and Plates, 

By John Burnet, F.R.S. 

London : James Carpenter, Old Bond-street. 

Published on February 1st, 

E ngland in the nineteenth cen- 
tury :-LANCASHIRE, Part II.. and CORN- 
WALL, Part II. ; imperial 8vo., each with a fine steel 
engraving, and many superior woodcuts, 2s. fid. 

IRELAND. By Mr. and Mrs. Hall. Part XVI., 
with numerous engravings, imperial 8vo.. 2s. fid. 

The FLORIST’S JOURNAL, No. 25, with a coloured 

Pl CH ARLES DIBDIN’S SONGS COMPLETE, Part 


VI., 2s. fid. 


How and Parsons, Fleet-street. 


ART- UNION OF LONDON. 

President. 

His Royal Highness the Duke of Cambridge. 
Committee or Management. 

Henry G. Atkinson, Esq., | Edward Hawkins, Esq., 


F.G.S. ' F.R.S., F.S.A. 

Chas. Barry, Esq., A.R.A. Henry Hayward, Esq. 
John Ivatt Briscoe, Esq. William Leaf, Esq. 

John Britton, Esq., F.S.A. Win. C. Macready, Esq. 
Benjamin Bond Cabbell, T. P. Matthew, Esq. 


Esq., F.R.S., F.S.A. 
William Collard, Esq. 
Robert Dickson, Esq., 
M.D., F.L.S. 


Thomas Mist, Esq. 

T. Moore, Esq., F.S.A. 
George Morant, Esq. 
George John Morant, Esq. 


Charles Palmer Dimond, Richard Morris, Esq. 

Esq., Treasurer. John Noble, Esq., F.S.A. 

Thos. L. Donaldson, Esq. Lewis Pocock, Esq., F.S.A. 


Esq., Treasurer. i 

Thos. L Donaldson, Esq. 
William Ewart, Esq., M.P. 
J. S. Gaskoin, Esq. 

George Godwin, Esq., 
F.K.S., F.S.A. 

Thos. Griffith, Esq., M.A. 


The Right Hon. the Lord 
Prudhoe. 

W. J. Smith, Esq. 

Arthur Wm. Tooke, Esq., 
M.A. 


Sir Beni. Hall, Bart., M.P. R. Z. S. Troughton, Esq. 
T. Charles Harrison, Esq., Samuel Wilson, Esq., Aid. 


F.L.S., F.G.S. 


| Edward Wyndham, Esq. 


GOLDSMITH’S DESERTED VILLAGE, WITH 
ETCHINGS. 

This day is published, in 1 vol. imp. 8vo., price Five 
Guineas, in extra boards, or in quarter colotnbier in 

K rtfolio ; Proof Impressions, Ten Guineas ; Proofs 
fore Letters, Thirteen Guineas, 

G OLDSMITH’S DESERTED VILLAGE; 

with Eighty Etchings, by Members of “ The 
Etching Club.’’ 

Only 220 copies of this Work have been printed : 
no more impressions will be taken, and the plates will 
be destroyed. 

London : Longman, Brown, and Co. 

Now publishiug, beautifully printed and neatly bound 
In cloth, price 7s., or in six parts at la., illustrated 
with Water-coloured Engravings. 

T HE COMPLETE GUIDE to the FINE 
ARTS: containing full Instructions in Drawing, 
Oil and Water-colour Painting, Portrait Painting, 
Landscape Painting* Miniature Painting, Perspective, 
Crayon Painting, Grecian and Persian Painting, Flower 
Painting, Lithography, Engraving on Wood, Copper, 
Ac., and valuable Recipes. 

Part. I. contains— The Whole Art. of Oil Painting— 
t Drawing and Sketching from Nature— 3. Drawing 
in Perspective— I. Miniature Painting— 5. Engravings 
on Wood, Copper, and Lithographic Drawing— 6. Land- 
scape Painting in Water-colours, Ac. Each part com- 
plete in itself. 

T. Sloper, 19, High-street, Marylebone; and W. 
Brittain. Paternoster-row. 


Honorary Secretaries. 

George Godwin, Esq., F.R.S., F.S.A., 11, Pelham- 
crescent, Brompton. 

Lewis Pocock, Esq., F.S.A., 29, Montague-street, Rus- 
sell-square. 

The Art-Union was established in 1836. to aid in 
extending the love of the Arts of Design through the 
United Kingdom, and to give encouragement to Artists 
beyond that afforded by the patronage of individuals. 

1. It is composed of Annual Subscribers of One 
Guinea and upwards. 

2. The funds, after paying necessary expenses, are 
devoted to the purchase of Pictures, Drawings, Ena- 
mels, Sculpture, or Medals. 

3. Every Member, for each Guinea subscribed, is 
entitled to one chance of obtaining some work of Art 
at the annual distribution, the selection of which rests 
with himself. 

4. In addition to the equal cliancc annually afforded 
to each Subscriber of becoming the possessor of a va- 
luable work of Art, by the result or the allotment, a 
certain sum is set apart every year to enable the Com- 
mittee to procure an Engraving; and of this Engraving 
each Member will receive one impression for every 
Guinea subscribed. 

An Engraving of Mr. Landseer’s picture, ‘THE 
TIRED HUNTSMAN,’ by Mr. H. C. Shenton, is 
now in course of distribution to the Subscribers of the 
year 1840, at Messrs. P. and D. Colnaghi’s, 14, Pall- 
mall East. 

Mr. J. P. Knight’s picture, ‘THE SAINTS’ DAY,* 
is in the hands of Mr. W. Chevalier, to be engraved 
for the Subscribers of 1841. 

The Subscribers of the current year, ending March 
1842, will receive impressions of an Engraving by Mr. 
W. H. Watt, of Hilton’s fine picture, * THE RE- 
TURN OF UNA.’ 

Prospectuses may be obtained nt the Society’s Office, 
73, Great Russell-street (corner of Bloomsburv-square), 
where the Clerk is in attendance daily, from Twelve till 
Five o’clock, to utford any information that may be re- 
quired, and to receive Subscriptions. 

By order, T. E. Jones, 

Clerk to the Committee. 


Just published, in 8vo., price 2s., 

B ritish, french, and german 

PAINTING; being a reference to the Grounds 
which render the proposed Painting of the New Houses 
of Parliament important as a Public Measure. By 
David Scott, Esq., Member of the Royal Scottish 
Academy of Painting, Author of “ The Peculiarities of 
Thought and Style in ‘ The Last Judgment’ of Michael 
Angelo,” “ The Genius of Raffaelle,” Ac. 

Eriinbnigh: the Edinburgh Printing Co. London: 
i Smith, Elder, and Co. 

Just published in royal 4to., price £\ 6a. bound, 

R ustic architecture— 

Picturesque Decorations or Rural 
Buildings in the Use of Rouoh Wood, Thatch, 
etc. Illustrated by Forty-two Drawings ; consisting 
of Plans, Elevations, Sections, and Perspective Views ; 
the Doors, Windows, Chimney Shafts, Ac., drawn 
geometrically to a large scale ; with descriptions and 
estimated costs. By T. J. Ricauti, Architect. 

“ We have repeatedly and strongly recommended 
this elegant and useful Work, and can safely say, that 
we think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardener’s Magaxine. 

James Carpenter, Oid Bond-street. 

Published in 4to., Price j£4 10s. in French Boards; 
and on Royal Paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author,'Price 7s., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Dutch, and English Schools; and 
WoodCuts. By JOHN BURNET, F.R.S. 

1. On the EDUCATION of the EYE. Second Edi- 
tion. Price £\ 5s. 

2. On COMPOSITION. Fifth Edition. Price 15s. 
in boards. 

3. On LIGHT and SHADE. Fifth Edition. Price 
18s. in boards. 

4. On COLOUR. Fourth Edition. Price £\ 111 . fid. 
in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the New Edition of the Encyclopaedia 
Britamiica— See the article on Drawing. 

James Carpenter, Bond-street. 

BROCKEDON’S VIEWS IN ITALY. 

I TALY, HISTORICAL, CLASSICAL, and 
PICTURESQUE; described and illustrated iu a 
series of VIEWS, engraved in the highest style of art, 
from drawings made and selected expressly for this 
work. By William Brock bdon, Esq., F.R.S., Mem- 
ber of the Academies of Fine Arts m Florence and 
Rome ; author of the “ Passes of the Alp,” “ The 
Road-Book to Italy,” Ac. Ac. In monthly parts, im- 
perial quarto. 

The work will be regularly published in monthlj 
parts, each containing three highly-finished line en- 
gravings, with descriptive letter-press, printed on im- 
perial quarto paper— size, fifteen inches oy eleven, anc 
will extend to twenty-four parts. The price of eacl 
number will be, Prints, 5s. ; India pnper, proofs, 8s. 

1 India proofs, before letters, 12s. Of this latter tin 
impression will be strictly limited to 25 copies. 

Part I. will be published on February 1, 1842. 
London : Duncan and Malcolm, Paternoster-row 
and Blackic and Son, Glasgow and Edinburgh. 


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22 


THE ART-UNION 


[Feb. 


ON THE FIRST OF FEBRUARY 1842, WILL BE PUBLISHED, 

Volume I., Price 10s. of 

THE WORKS OF SHAKSPERE: 

A NEW LIBRARY EDITION. 

EDITED BY CHARLES KNIGHT. 


Thb “ Pictorial Edition of Shakspere,” by the same Editor, is now com- 

f leted, as far as regards the publication of the undoubted works of the 
’oet. It now comprises two Volumes of Comedies, two of Histories, 
two of Tragedies and the Poems. The two doubtful Plays, and the Ana- 
lysis of the ascribed Plays, with a full Index, or Indexes, will form the 
Seventh Volume. 

In the original announcement of 11 The Pictorial Shakspere” a Life of 
the Poet was necessarily proposed ; but the materials which the Editor 
has collected require an extension of his plan ; and he contemplates such a 
Biography (scanty as the personal authorities may be), as may regard 
Shakspere in connexion with his Age, — its Literature, its Politics, its Reli- 
gion. This will form the greater portion of an Eighth or Introductory Vo- 
lume : with a brief History of Opinion on Shakspere’s writings, — during 
the course of two centuries and a half, — in our own country, in France, and 
more especially in Germany. 

It is intended to commence the publication in February 1842, of a new 
edition of the 44 The Works of Shakspere, edited by Charles Knight.” This 
will not be a 44 Pictorial Edition,” in the former sense of the term ; although 
those wood Engravings will be introduced which really illustrate the author 
better than any verbal explanations. The Works will be handsomely printed 
in demy octavo, and the Life, and other Introductory matter, will form part 
of this edition. 

In entering upon this undertaking, the Editor relies upon the same sup- 
port which he has already so abundantly received, for the production of an 
edition in a form more convenient to the student and general reader, though 
less attractive as an embellished book. It is his intention to make the 
Library Edition as complete and as correct, in a literary point of view, 
as his most assiduous care will allow. In the 44 Pictorial Edition,” the text 
was subjected to a more careful collation, not only with reference to verbal 
accuracv but in the important matter of versification, than had been at- 
tempted for many years. And not only for the detection of typographical 
errors was this careful collation with the original copies undertaken ; but 
the corruptions of the text, produced by a long course of unscrupulous 
changes, called corrections, were in this way searchingly examined, and in 
most cases set aside. 

Since the publication of the posthumous edition of Malone, by Boswell, in 

London: CHARLES KNIGHT 


1821, there had been no attempt to produce a new critical edition, which 
should sedulously examine the ancient texts, instead of revelling in conjectural 
emendation— should avail itself of any improved facilities for illustrating the 
author — exhibit something of what had been done to that end in foreign 
countries— and, above all, casting aside the ignorant spirit of all that species 
of commentary which sought more to show the cleverness of a depreciating 
criticism than the confiding humility of a reverential love, should repre- 
sent the altered spirit of our literary tastes during the last quarter of a 
century. » 

To carry forward bis labours in the same spirit, aiming also at the attain- 
ment of the utmost accuracy, will be the great object of the new edition. In 1 
deciding upon doubtful texts, the principle which has already been the , 
Editor’s guide will be steadily kept in view. That principle has been to 
make the folio of 1623 the foundation of the text; to resort to the quartos 
whenever that edition was evidently incorrect, or gave a doubtful sense ; I 
if the quartos did not solve the difficulty, to adopt what was thought the 
best of the conjectural emendations of Shakspere’s editors, English and I 
Foreign. There is a wide difference between making one edition the faun* j 
dation of a text, and servilely adhering to that edition. | 

With this view, it is the Editor’s intention to collate the matchless collec- ) 
tions of Shakspere’s plays in the British Museum and the Bodleian | 
Library. The necessary facilities for so doing have been extended to him 
with the most ready kindness. Having made the folio of 1623 the foundm- 
tion of his edition, it is now his duty to spare no care that may eorrect any 
mistakes into which his confidence in that edition may have led him. He 
believes that he will not have much to correct. 

The work will be comprised in twelve volumes ; but the circumstance 
that the greater portion of editorial labour has been accomplished, and that 
the heavy cost of illuttrative engravings has already been incurred, will en- 
able it to be sold at a comparatively low price, namely the WORKS, 10 vo- 
lumes, Five Pounds ; the LIFE, &c., 2 volumes, One Pound. 

It is intended to publish a list or those supporters of the undertaking who i 
will have the kindness to give in their names to their respective booksellers, I 
either in town or country ; and the number printed will in some measure be I 
regulated by the number of those who thus intimate their intentions before 
the appearance of the first volume. 

AND CO., LUDGATE STREET. | 


ARTISTS’ COLOUR WAREHOUSE, 
■fi. 339, OXFORD-STREET, LONDON. 

JABBZ BARNARD begs to inform his Friends and 
Artists generally, that he has opened the above Pre- 
mises with sn entirely new and extensive Assortment 
of every requisite for OIL and WATER-COLOUR 
PAINTING ; comprising Metallic and other Tubes for 
Oil Colours, and all the new Vehicles st present in use. 

J. B. respectfully solicits a trial of his fine White, 
prepared for Oil Painting, which is unequalled. 
The Trade supplied.— January 1842. 

R ATCLIFF’S PATENT INKSTANDS, the 
most complete yet offered to the Public, in which 
the usual faultsof Iukholders— Mouldiness, Corrosion, 
Evsporation, and thickening of Ink, are completely 
avoided. 

Sold by L. Booth, Duke-street, Portland-place. and 
by all Stationers, in a variety of Mountings, suitable 
for the Office and Drawing-room. Merchants and 
Foreign orders su p plied on Liber al terms. 

ELEGANT AND ORNAMENTED PICTURE 
FRAME8 OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET- STREET, 
• corner of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tendedto. ESTABLISHED 1793. 


P OOLOO'S CHINESE CEMENT. — The 
extraordinary properties of this Composition 
make it one of the most useftil articles ever presented 
to the public. It is perfectly impervious to hot or cold 
' sr, and will resist the effects of the most intense 
So firm is it in its hold that a new fracture is 
ke place rather than a severance in the 
bos it surpasses all other Cements for 
l, Glass, Ivory, the setting of Stones and 
( and Trinkets, fire.— Sold. wholesale and 
i at Is. fid., 3s. 6d., 48.6th, and 7s. 6d., 
kor's sole agents, B1.0FELD and Co., 
prmakers, 6, Middle-row, Holborn; ana 
ment, at the principal Chemists and 
)FELD’S London made Table Knives, 
> and Co.’s, 6, Middle-row, Holborn. 



-:•* -am 


T O MINIATURE PAINTERS, &c. — W. 

WARRINER, 39, GREAT CASTLE-STREET, 
REGENT- STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 
patronised him, begs further to inform them that lie 
has a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 


W ARING AND DIMES, 91, GREAT RUS- 
SELL-STREET, BLOOMSBURY, have to re- 
turn thanks for the patronage bestowed upon them by 
their friends, and state that they endeavour to render 
every Article manufactured ana sold by them of the 
first quality. 

PREPARED CANVASS, WITH INDIA RUBBER 
GROUND.— This article is the exclusive manufacture 
of W. and D., and the increase of its consumption 
attests its superiority over the old method ; no crack- 
ing or peeling can possibly take place on the surface. 

METALLIC ZINC TABLETS for Oil Painting were 
originally prepared by W. and D. Their advantageous 
properties for highly-finished subjects over wood or 
mill-board is generally acknowledged, the surface pro- 
duced being of the finest and most even texture. 

ANTI-TUBE BLADDERS OF OIL COLOUR, which 
have been so much admired on account of their sim- 
plicity and saving. 

WATER COLOURS IN CAKES AND BOXES.— 
At the present season, those intending to make pre- 
sents to their young friends are invited to inspect the 
stock of Drawing Boxes at W. and D.’s establishment, 
which combine elegance and durability, and may be 
had from the price of 5s. upwards. 

W. and D. have also established a Circulating Port- 
folio of Drawings and Prints, containing Specimens of 
the best Masters. 

An assortment of Lithographic Studies, by Julien, 
Harding, Prout, and other masters. 

White and Tinted Drawing Papers, Chalks, Crayons, 
and all other Articles for Drawing and Painting. 

An assortment of Drawing Boards. 

T Squares and other Mathematical Instruments, just 
received from Paris. 


TO ARCHITECTS, BUILDERS, fcc. 

P apier mache^works, 15 . wel- 

LINGTON-STREET NORTH. STRAND.— 
CHARLES F. BIELEFELD begs to inform Architects, 
Builders, &c., that in addition to the Volume of Pat- 
terns already published, he has now produced 40 New 
Engravings, which may be had separately at fid. each, t 
The complete work now comprises nearly 850 patterns | 
of works in every style, actually manufactured in Pa- , 
pier M&ch^ and on sale : consisting of Picture and I 
Glass Frames, Cornices, Mouldings, Flowers, and every j 
species of decoration for ceilings, walls. Sic. The ex- 
cellence of the improved Papier Mftchl Ornaments in 
architecture is now fully understood and admitted by I 
the first architects, and by the most eminent builders 
in London and the provinces.— The above folio volume 
is sold, bound complete, with a tariff of prices, at Three 
Guineas, which wifi be remitted to persons ordering 
goods to the amount of .£50 or upwards. 

BY THE QUEEN ’S IrOYAL LETTERS PATENT.” 

S PILSBURY’S WATER-COLOUR 
PRESERVATIVE. — It has always been con- 
sidered a desideratum to possess a means of giving to 
Water-colour Drawings the durability and fixedness of 
Oii Paintings, without lessening that clearness and 
brilliancy which are the especial characteristics of the 
former. This has at length been achieved by 11m in- 
vention of the above valuable preparation, which. with- 
out Injury to the most delicate tints or change or their 
appearance, and without any false glare of varnish, 
will render Water-colour Drawings capable of being 
washed with Soap and Water, and so impervious to 
dirt, that Ink may be spilled upon them and washed 
off again without leaving a stain. 

Crayon and Pencil Drawings. Coloured or Plain En- 
gravings, may in like manner be fixed and made wash- 
able without any change In their appearance. It will 
be found not less important for giving durability to 
the numerous articles fabricated on fancy paper and 
card-board: to Music and Berlin Patterns; to Shop 
Tickets ana Show-boards ; and, indeed, to every other 
object of paper exposed to dost and dirt. 

Sold in packages, 4s. each, by the Sole Appointed 
Agents, Reeves and Sons, 150, Cheapside ; ana by the 
Inventor and Manufacturer, Mr. Sptlsbury, 17, Pall- 
Mall ; where also may alone be seen and had the wash- 
able Kalsomine Paper-hangings, which possessing 
greater softness and beauty than ordinary papers are 
yet capable of being washed like oil-paint; price from 
3d. a yard and upwards. 


Digitized by <^.ooQle 


1842 .] 

THE ART-UNION. 



LONDON, FEBRUARY 1, 1842. 


ART APPLIED TO MANUFACTURES. 

WO. I. — CONNEXION OP BEAUTY AND UTILITY — 
USES AND PROGRE8S OF SCHOOLS OF DESIGN. 

In commencing' this series of papers, a brief 
statement of their scope and plan may be desira- 
ble. Our aim is to awaken the attention of all 
who take an interest in the promotion of the Use- 
ful, as well as the Fine, Arts, to the importance of 
studying the beautiful, both in form and colour ; 
to exemplify the true principles of beauty in rela- 
tion to common things, no less than to the rarest 
products of ingenuity ; and to point out the right 
way of developing, by educational means, those 
perceptions of elegance and fitness which are 
known by the name of taste. With a view to ac- 
complish this end, we shall arrange the subject 
under two divisions : the first, and principal one, 
being devoted to an exposition of the general 
principles that govern the art of design, as applied 
to useful and ornamental purposes ; the uses of 
Schools of Design, and the direction and nature of 
the instruction they should afford. In the second 
and subordinate division, we propose to record the 
proceedings of these Institutions ; and especially 
to report the progress of the Central School of 
Design, recently established by Government at 
Somerset House, under the direction of Mr. W. 
Dyce. In this latter branch of the subject we 
shall be indebted for our information to the able 
and zealous director of the school ; but the writer, 
in his capacity of reporter, will assume the privi- 
lege of commenting upon the plans and results of 
instruction, in the frank and kindly spirit of friend- 
liness, as a fellow labourer in the field of popular 
education in Art. 

The pleasure derived from the contemplation of 
beautiful objects is an inborn desire, the gratifica- 
tion of which is as much a want of our common 
nature as the grosser necessities of daily exist- 
ence. It was implanted in us by the Divine Crea- 
tor, for the beneficent purpose of gladdening and 
refining the exercise of our senses. Every object 
in nature ministers to it, and its enjoyment is as 
exquisite as it is blameless and beneficial : it i9 an 
appetite that knows neither surfeit nor vicious 
excess ; and its indulgence, to use the expressive 
terms of the Latin poet, “ softens the manners, 
and suffers not men to be brutal. ” In our pur- 
suit of the means of delighting this fine sense, 
the most intellectual of all, we are apt to look too 
exclusively to the gifted sons of genius, the poets, 
artists, and musicians, as the sources whence 
ideal images of grace and loveliness are diffused 
around, overlooking the numberless beauties that 
exist in the wondrous realities of creation, and 
the humbler class of artificial objects where ele- 
gance is subservient to utility. The commonest 
jug, if it be of a pleasing shape, is gratifying to the 
cultivated taste ; and to make it oi a comely form 
costs no more than if it were ugly, while in that 
case it is not merely an indifferent but a disagree- 
able object : the cheapest cotton print may pre- 
sent an harmonious mixture of colours, that 
shall cause it to be preferred to the most costly 
satin of ill-assorted hues. We are all of us more 
or leas sensible to such impressions, though often 
unconsciously; and if these sensations be slight 
and transient they are also frequent, and not the 
less real for being unrecognised. Indeed the cha- 
racter of the material objects by which we are 
surrounded, influences the mind and disposition 
through the outward senses ; so that the beautiful 
exerts a moral as well as an intellectual sway over 
mankind : we need go no further than this general 
remark, that the most cheerful and happy people 
delight in ornament and gay colours, to prove the 
efficacy of ocular perceptions on human character, j 
There is a numerous and active class of persons, 


THE ART-UNION. 


who are constantly occupied in surrounding us 
with objects of daily use, that are either agreeable 
to the eye, or the reverse : these are the artisans, 
or skilled craftsmen, the designers of the shapes 
and patterns of dresses, furniture, and utensils; 
they have the power of contributing extensively, if 
not materially, to our momentary enjoyments ; 
and as purchasers mostly prefer a pretty thing to 
an ugly one, according to their degree of discrimi- 
nation, it is the interest of this vast body of pro- 
ducers to please the public : they strive to do so 
to the best of their ability ; but they are not 
taught how to accomplish their intention effec- 
tually. To give them this teaching is the object 
of Schools oi Design ; and in this view alone it is 
an important obiect. But in a commercial point 
of view, it is a question that concerns national 
wealth, the prosperity of our manufacturers, and 
the feeding and clothing of the working popula- 
tion. Let those who doubt this, ask the shop- 
keepers who deal in any description of “ fancy 
goods,’ or the manufacturers who produce them. 
The want of a scientific knowledge of Art, of 
education for the eye, of cultivated taste in short, 
kept the people of this country, from the time 
when the gloom of Puritanism repressed the 
national vivacity until the present, in a state of 
insensibility to the beauties of form, proportion, 
and colour in common things, and generally speak- 
ing in rarer objects ; and the plain, dogged, prac- 
tical understanding of John Bull takes so strong a 
hold of the tangible idea of utility, that he was 
prone to regard beauty as a quality not only fanci- 
ful and superfluous, but inimical to use, and which 
at any rate added to the cost of a thing. John 
left the study of elegance to “foreigners;” and 
when ornament was wanted he supplied expensive 
finery ; the consequence has been, that foreigners 
have taken some of John’s best customers from 
him, and he is now forced by the loss of his trade 
to set up a taste : the breeches-pocket, that most 
sentient nerve in honest John's organization has 
been touched ; and conviction has reached his 
brain through this influential channel. As the 
shortest way of laying in a stock of this (to him) 
strange article, taste, he has been borrowing from 
his neighbours ; but in so bungling a way that he 
cannot rival them, and does but increase by his 
clumsy imitations the demand for the genuine 
originals : he cannot even copy a beautiful article 
correctly for want of a knowledge of first principles. 

First principles : yes, these are what our coun- 
trymen want to know ; for this knowledge is es- 
sential to enable them to “ steal with judgment” 
from others, much more to invent for themselves. 
It is not enough to know that the shape of a 
Grecian vase is beautiful, that the colours of a 
Persian carpet or an Indian vase are rich and 
agreeable to the eye ; an understanding of what 
constitutes their peculiar beauties is essential, in 
order to preserve the character of the original in 
the imitation : a still more scientific acquaintance 
with their characteristics is requisite to adapt 
their fine qualities to other purposes, or to vary 
the application of the main principles on which 


23 


they are designed ; for a very slight deviation may 
vitiate the reproduction. It is not uncommon to 
see the characteristic feature of a beautiful vase 
ignorantly exaggerated into deformity by way of 
improvement; and pattern specimens of handi- 
work, where the craftsman has lavished his ut- 
most labour and ingenuity, are not unfreqnently 
montrosities in point of design. There is no 
greater fallacy than the vulgar notion, that “ taste 
is arbitrary choice this error has been the pro- 
lific parent of ugliness ; for if the fancy be not 
guided by right principles it wanders into all sorts 
of incongruities. Whoever admires a beautiful 
object ought to beable “ to give * reason for the 
faith that is in him,” that snail satisfy a rational 
questioner: how much more necessary is it for 
the manufacturer to know in what consists the 
beauty he aims at producing ? Science is the rud- 
der and compass of Art, by which the daring in- 
ventor is enabled to discover new worlds of beauty 
without running on the rock of deformity. Beauty 
and utility go hand in hand, and those who di- 
vorce them separate a pair joined by nature; 
whose union, cemented by “ the eternal fitness of 
things,” is the means of filling the world with 
shapes of loveliness strung with nerves of power. 
As in the man the easiest attitudes are also the 
most graceful, so with artificial objects the most 
serviceable may be rendered the most becoming : 
when a thing is essentially ugly, the chances are 
that it is not so handy for its purpose as it might 
be made ; and as mechanical inventions are im- 
proved they become more shapely. Ugliness is 
an evil to be avoided whenever possible, which it 
is in most cases. Utility engrafted on simple 
beauty gives rise to endless varieties of form, that 
are pleasing because they are fitted for their pur- 
pose: as examples of this we may instance the 
commonest agricultural implements the plough, 
the scythe, the sickle, and the basket with which 

“ The sower stalks, and lib’ral throws the seed 
Into the faithful bosom of the ground.” 

So with dress ; the Greek mantle or chlamys, the 
Roman toga, the Turkish turban, the Arab bour- 
nous, and the mat of the New Zealand savage, are 
each graceful after their kind. 

“ But what is meant by beauty ?” it may be 
asked. “ Is it a positive quality to be defined ?” 
We reply, Yes. There is an abstract beauty of 
form and proportion as well as of colour, which 
always delights the eye : but the mind to be fully 
satisfied demands also expression of character or 
purpose ; that is, the combination of fitness and 
utility with beauty. An object is beautiful be- 
cause of the ideas excited by it ; these constitute 
its attractiveness, for they are the fruition of 
beauty : those persons who have most lively ima- 
ginations, therefore, derive the greatest amount of 
pleasure from the contemplation of beautiful ob- 
jects. Hogarth’s “Line of Beauty” is a mere 
figment ; for though undulating curves are pleas- 
ing to the eye, they convey no meaning to the 
mind, unless their coutour expresses some intelligi- 
ble form.' Beauty has been well defined to be the 
combination of uniformity and variety : let us 








24 


THE ART -UNI ON. [Feb. 


solid , compact, and conveying an idea of stability branch of decorative art. The knowledge of these according to a conventional necessity. The de- 
and strength : it is satisfactory from its symme- laws and conditions, and of the natural character- signers of ornament for architecture, for carpets, 
try, every one of its sides being alike, and each istics of the divers objects which the decorative for damask hangings, for cotton prints, for vases, 
contributing in an equal degree to the integrity of artist impresses into the service of ornament, for arabesque scrolls, for lace work, for glass ■ 
the form : the square has only one element of ought to be acquired in Schools of Design. painting, for paper hanging, &c., would each treat 

beauty, uniformity. The oblong square, or paral- The institution of Schools of Design has been the honeysuckle in a different way, according to 
lelogram (fig. 2), is also solid, compact, and uni- regarded as only serviceable in teaching the artisan the requirements of his peculiar branch of decora - 
form, and, equally with the square, conveys ideas to draw, and making him familiar with what has tion : neither would imitate nature exactly, but 
of stability and strength ; but it includes, in a been already done in the way of ornament, so as each in his deviation should preserve the beautiful 
degree, the element of variety, the just proportion to be able to produce new modifications of known characteristics of the original, whether in form or 
of tiie height to the breadth of the figure, pro- devices. This is taking a very superficial and colour ; and in order to do this he must know in 
ducing an additional pleasure : the height of this, imperfect view of the nature and scope of the what these characteristics Consist. 

11 the parallelogram of beauty,” as it is called, is course of education required to produce skilled The most common and glaring mistake made by 

equal to the diagonal of the square of the base inventors ; and, without the scientific eier- our designers, is that of introducing pictorial imi- 
(vide fig. 2) ; this graceful proportion blending cise of invention, ornamental design is of no tations of natural scenes and objects as orna- 
the characteristics of altitude and squareness in worth, and will do little towards establishing ments : it is not only an infraction of the first 
one form. In the parallelogram (fig. 3) the idea or maintaining our national equality in ornamental principles of the art of decorative design, but a 
of altitude or length predominates; this figure is manufactures. To be able to draw is obviously source of the most monstrous absurdities. Tigers 
in a less degree suggestive of compactness and an essential, but the least part, of the education crouched on hearth-rugs, lapdogs on foot-stools, 
stability, and strikes the sense as not so justly of the designer of ornament : in the science of form parrots perched on chair-seats, swans sailing on 
proportioned as figure 2. Rectilinear figures, and colour, and their application to the purposes the floor of a drawing-room, snakes and lizards 
however, are far less agreeable to the eye than of decoration, the artisan ought to be proficient, crawling into cups, flower stalks blossoming with 
curvilinear; for besides that straight lines have He should not only know what has been done in wax-lights, Corinthian columns supporting tall 
no variety in themselves, the angles are harsh : ornament, and how it is done, but why it was candles, wtdls opened with myriad repetitions of 
regularity, strength, and stability are their lead- done ; that he may be able to do something new, the same view in every conceivable distortion of 
ing characteristics. The sphere (fig. 4) combines and as good or better than his predecessors : for false perspective, grates like castles, gothic crosses 
compactness, solidity, and strength with uni- novelty in ornament is incessantly demanded, not doing duty as door-keepers, and Grecian urns 
formity, rejecting the harshness of angular figures ; only by the caprices of fashion, but by the com- stuck up for chimney-pots — these are among the 
the unbroken regularity of the form, which pre- petition of manufacturers; and the designer who most flagrant instances of that want of scientific 
sents the same outline in whatever way it is supplies it in the greatest variety, and of the most acquaintance with the principles of' decorative 
viewed, is not only satisfactory but pleasing. But beautiful kind, will be most prized. Study can- Art, which it is one great object of schools of de- 
the eye quickly runs the round of the circular out- not teach the dull brain to invent, but it will re- sign to supply. 
line,andsoon comprehends the beauty of the figure; strain alike the plodding and the lively fancy from 

hence the heightening grace of variety is wanting falling into errors of judgment, and vitiating the These introductory remarks have extended to 
in the sphere, which is supplied by the ellipsis popular taste. So little has the subject of artisan such a length, that our mention of Schools of 
(fig. 5) ; the regularity of this figure, however, in education been considered, that we find writers, Design must be very brief, and limited to the Me- 
which the two ends and two sides precisely resemble eminent for their love and knowledge of Art, not tropolitan School at Somerset House, and its oflT- 
each other, is soon apparent, and its variety quickly only at variance with each other as to the course shoot in Spitalfields ; and we must be content to 
exhausted. It is in the oval or egg-shape (fig. 6) of instruction, but entirely wrong in their notions give a mere sketch of these. The School of Design 
that the two elements of beauty— uniformity and on the subject. Mr. Haydon advocates drawing at Somerset House, was established by the 
variety — are combined in perfection, without any the human figure as the one thing needful ; on Government on 1st May, 1837, in pursuance of a 
diminution of the ideas of compactness and soli- the principle that the greater includes the less, he parliamentary grant of money for that purpose ; 
dity: the devious contour of the oval presents a contends that when an artisan can draw the figure, under the direction of Mr. Papworth ; Mr. Dyce 
variety of curves in its flowing line ; and graceful he can draw anything. Mr. Allan Cunningham, was appointed Director in August 1838. The in - 

{ iroportion is superadded, the relative width and on the contrary, ridicules the notion of making struction given may best be described in the words 
engthofthe figure corresponding with that of fig. 2. artists of artisans by teaching them to draw the of the Prospectus. 

In this attempt to estimate the comparative beauty human form ; and humourously observes, that branches of instruction. 

of these simple geometrical forms, and to demon- “ we don’t want to have the Greek warriors of Section I. — Elementary Instruction. — I. 
strate the surpassing elegance of the oval, while the Elgin frieze galloping round the rims of plates Drawing. 1. Outline Drawing, Geometrical 
testing the definition of beauty, only some of the and dishes." With deference to both these dis- Drawing, Freehand ditto ; 2. Shadowing, the use 
abstract ideas of form awakened by each have been tinguished men, they are alike beside the point : of Chalks, &c. ; 3. Drawing from the Round; 
adverted to; the qualities of surface, for instance, it is not the being able to draw the human figure 4. Drawing from Nature. II. Modelling. Model- 
have been purposely overlooked, as unessential to that makes an artist or an artisan ; the human ling from the Antique, &c. ; Ditto from Nature, 
the indication of the characteristics of form and form is one of the objects that both have occasion III. Colouring. 1. Instruction in the use of 
proportion. The constructive fitness of the form of to represent — the painter and sculptor principally, Colours; 1. Water-Colours, including Water 
the egg, with its two domes or arches of unequal the designer of ornament incidentally. To a cer- Body- Colours, and Fresco; 2. Oil Colours ; 2. 
dimensions blended together, so as to support tain point, the education of both artist and ar- Copies of Coloured Drawings ; 3. Colouring from 
each other, develops the new ingredient of beauty, tisan— to use the broad distinctive terms com- Nature. 

the principal of utility. This standard of beauty monly recognised — proceeds in the same way: N.B. The Instructions in Colouring are given 

is equally applicable to complex forms, in enabling both require elementary instruction in the art of only in the Morning School, 

us to form a judgment of the proportions in the drawing, modelling, and painting; for the use of Section II. — Instruction in the History, 
masses and of the shapes in the outline. The ba- the pencil or modelling-tool is as necessary to Principles, and Practice of Ornamental 
lane# of rotund and tapering form, of solid bulk and both as it is for the bookkeeper and the author Art. — This Section will embrace, according to 
projection, of curves and right lines in a vase, are to be able to use the pen. When this power of circumstances, the study of, 1. The Antique 
equally determinable by this simple test : but the imitating natural objects is acquired, the course Styles ; 2. Styles of the Middle Ages ; 3. Mo- 
question of fitness enters so largely into the con- of education of the painter and sculptor takes a dern Styles. In this department lectures will 
sideration, that abstract beauty of form and pro- totally different direction from that of the orna- occasionally be given to the students, 
portion is greatly modified, though its laws never mental designer. The painter and sculptor study Section III. — Instruction in Design for 
can be directly contravened without detriment, and imitate nature with a view to represent scenes Manufactures. — 1. Study of the various pro- 
The problem to be solved, in all cases of the inven- and persons, whether real or ideal, in the aspect of cesses of manufacture, so far as may be requisite, 
tion of new forms, or the adaptation of old ones life ; their aim being not only to delight the sense including those of Silk and Carpet Weaving, Ca- 
to useful purposes, is this — given the precise kind by the imitation, but to influence the mind, by lico Priuting, Paper Staining, &c., &c., &c. — 
of utensil, it is required to find the shape best communicating their ideas through the exercise N.B. The Class for Silk Manufacture is open 
suited to fulfil its uses, and at the same time to of their so potent art. The object of the orna- every Tuesday and Thursday, from eleven to two. 
develop the utmost degree of appropriate beauty. mental designer is simply to gratify the eye, 2. The Practice of Design for Individual Branches f 
The application of this standard of beauty to or- subordinately to some useful purpose which he of Industry — 1. Subject considered generally ; 2. 
namental design is infinitely more complicated ; serves by the means of appropriate embellish- With reference to the prevailing modes. Masters, 
and a new element, colour, here comes into ope- ment ; his invention has a wider latitude, but under the general superintendence of Mr. Dyce, 
ration. Ornamental art is unjustly, or rather a more limited influence than that of the painter are engaged to afford instruction in the various 
ignorantly despised ; the investigation of the prin- or sculptor. The treatment of the same object by branches above enumerated, 
ciples of beauty in ornamental design requires the pictorial and ornamental designer, is essentially Admission to the School. — Such persons 
more recondite research than in the instance of different : take the honeysuckle for example ; the as are desirous of attending, must apply at the 1 
natural forms, where the formB are not arbitrary, studies of the flower itself by the landscape painter School between twelve and three. Candidates for ] 
In the conformation of natural objects there is a and the decorator may be similar; but how different admission will be reported to the Council, by 
reason for everything, if we could but find it out ; the use they make of it. The one gives to the entire whom the students are admitted. Mr. Dyce, i 

and in controlling the exercise of invention by a plant the pensile lightness, the luxuriance, and however, is vested with a discretionary power of ! 

rational exercise of scientific knowledge, man is movement of nature: the other detaches the flow- admitting, as probationers, such applicants as 
following, though at an immeasurable distance, the era from their stems and sticks them flat and up- may be considered by him qualified, until the de- 
order of the universe. In painting and sculpture right, side by side, or with some fanciful shape inter- cision of the Council be ascertained, 
the artist imitates the perfection of nature; in mixed; giving to them rigidity, and regularity, and Fees of Admission. — To the Morning School, 
ornamental design he is licensed to deviate from altering both shape and colour. The one presents per month, 4s. ; to the Evening, 2s. Morning 
the natural ideal into the fantastic ideal ; and his the natural characteristics of the plant in the most students have permission to attend the Evening 

invention is only controlled by the laws of ab- picturesque aspect : the other takes the hint of a School free of payment. The fees of admission I 

stract beauty, and the conditions of his particular beautiful form, and applies it to an arbitrary use, are payable in advance from the 1st of each 


Digitized by Lr.ooQie 


1842 .] 


THE ART-UNION. 


month ; but students may be admitted in the 
course of the month on making the fractional 
payment. 

Hours of Attendance. — The Morning 
School is open from ten till three every day, ex- 
cept on Saturday, when the School closes at two 
o’clock. The Evening School is open from six 
till nine every evening, except Saturday. 

The school is supplied with a variety of examples 
for study, consisting of prints and drawings, casts 
from antique sculptures of the human figure, ani- 
mals, and architectural ornaments; specimens of 
paper and silk hangings. Of these a great variety 
has recently been brought from Paris by Mr. Dyce, 
who at the same time made arrangements for 
purchasing two valuable and extensive collections 
of casts from the antique, which are in course of 
transmission to this country. These are the col- 
lection of sculpture in the Louvre, which comprises 
the most celebrated statues, groups, bas-reliefs, 
busts, and fragments of Greek and Roman Art; 
and that at the Ecole dea Beaux Arta , consisting 
of a prodigious quantity of ornamental work of all 
kinds, styles, and dates, from the Egyptian to the 
time of Louis XV. These collections, formed at 
great expense by the French Government, re- 
quire a considerable annual outlay to keep the 
moulds from which casts are taken in proper 
order, by renewal or otherwise. When the casts 
arrive, which will be so soon as a suitable place has 
been prepared for their reception, it is intended to 
have moulds made from the finest and most useful, 
from which other casts can be taken for supplying 
branch Schools of Design, and other Institutions, 
at the cheapest possible rate ; the original collec- 
tion remaining at the central School for study and 
exhibition. The purchase of these two collections 
is £600, independently of the cost of package and 
carriage, and the expense of making moulds from 
them. 

M r. Dyce is also preparing an Elementary Draw- 
ing Book, for the use of the students ; the two 
first parts of which, with directions for the teach- 
ers, may shortly be expected. Mr. Dyce's ap- 
pointment of Professor of Fine Arts to King's 
College, will afford him the opportunity of giving 
the more advanced pupils of the Somerset House 
School admission to a course of lectures on Orna- 
mental Design that he is preparing to deliver to 
the students of King's College. 

The School of Design at Somerset House 
opened this year with 150 pupils, of various 
ages, juvenile and adult, including those in the 
Normal School, who are candidates for six exhi- 
bitions to masterships in provincial Schools. 

Preliminary to the formation of Branch Schools, the 
following circular, and string of queries have been 
addressed to the proper authorities of the following 
places : viz, Aberdeen, Belfast, Birmingham, Coventry, 
Derby, Dublin, Glasgow, Leeds, Liverpool, Maccles- 
field, Manchester, Newcastle, Norwich, the Potteries, 
Sheffield, and York. 

Sir,— A Parliamentary grant has recently been made 
for the encouragement of Branch Schools in connexion 
with the School of Design already established in Lon- 
don, for the purpose of teaching Ornamental Design 
as applicable to manufactures, both to those employed 
as Pattern Designers and to Artisans generally, and 
also for the formations of collections of casts of works 
of Art, for the purpose of instruction in such Branch 
Schools : such collections to be gratuitously, accessible 
under certain regulations to the inhabitants of, towns 
in which they shall be placed. 

The council of the School of Design with a view 
to obtaining the information necessary to guide them 
iu disposing of the above-mentioned grant, request to 
be furnished with answers to the subjoined queries. 

The council also request, that if tneir be any Schorl 
or I ostitution now existing in , in which Design 

is taught with a view to its application to manufactures, 
you will acquaint them with the fact at your earliest 
convenience, as in that case they would be desirous of 
procuring from you some additional particulars of 
information in referrence to such School. 

By order of the Council, 

&c. &c. &c. 

Queries. 

1. Are you of opinion that if a School of Design were 
established in , the Artisans engaged in any, 

and^, what particular kinds of manufacture, or the 

K raous employed in the preparation of Patterns or 
signs for manufacture, or any other class of per- 
sons, would be disposed to receive instruction in such 
School, in Ornamental Design inapplicable to manu- 
factures? 

2. Are yon of opinion that such Artisans, or other 
persons would be disposed to send their sons to such 
school for such instruction ? 


3. Are you of opinion that the parties would be will- 
ing to make a moderate payment for such instruction ? 

4. Can you give any opinion as to the probable aver- 
age number of persons who would avail themselves of 
such instruction? 

5. Are there any public buildings in which such 
school could be established? 

6. Are there any town funds already subscribed 
applicable to this purpose ? 

7. Are you of opinion that if aid were afforded for the 

establishment of a School of Design in , out of 

the funds provided by Parliament, upon condition of a 
proportionate subscription on the part of the inhabit- 
ants, such subscription^ould be obtained? 

8. Are you of opinion that a proper building would 
be provided at tne expense of the town funds, or by a 
subscription of the inhabitants, for the reception of 
casts or works of Art for gratuitous popular exhibition 
under proper regulations, if a donation were made to 
the town of such a collection, or if aid were given to- 
wards its formation ? 

Only six Schools will be established, in the first 
instance, at those towns which are most in want of the 
assistance to be afforded by the council. 

Meanwhile th 2 progress of the Spitalfields' Branch 
School gives earnest of the advantages that the country 
Artisans will soon share: the number of pupils is 110, 
and the average attendance is 85. The work of 
National Education for workmen is fairly begun, and 
will progress steadily; and it will be the constant 
endeavour of this journal to aid its advancement. 

^ w. s. w. 

ON VEHICLES FOR PIGMENTS.* 

From a long course of experiments which I have 
been induced to make through the stimulus of 
“J. E.’s” communications to the Art-Union, 

I find that glass of borax, even when reduced to 
an extreme state of mechanical comminution, and 
then ground again and again with linseed oil, is 
but very sparingly soluble in the oil ; conse- 
quently, unless borax is added in a degree exceed- 
ing its solubility in the oil, the quantity of water 
that can be blended with it will be very limited. 
If, however, I abandon all the trouble of calcining, 
vitrifying, and grinding the prepared borax, and 
neither mix it with the ojl previous to, nor at the 
time of using it — but simply dissolve the ordinary 
borax, as it may be purchased, in clean rain 
water, taking care that the water be perfectly 
saturated with the borax (which may be always 
known by dissolving an ounce of it in 20 oz. 
of hot water) — I obtain at once, and with ease, a 
medium containing a constant definite quantity 
of borax, which will unite with linseed oil in any 
proportions, without the slightest .trouble,; and 
with apparent avidity. 

The artist, therefore, possesses unlimited con- 
trol over this medium ; and a little experience, 
and observation, will indicate the most advantage- 
ous combinations for specific or for ordinary 
purposes. There is, however, a certain definite 
combination which appears perfect, and which 
admits of no subsequent alteration from long re- 
pose. It has the consistency of cream or lini- 
ment, and is composed of four measures of lin- 
seed oil and one measure of the solution of borax. 

There is also another apparently definite com- 
bination, which will be found to exist between the 
limits of from four to five measures of the satu- 
rated solution of borax to four measures of oil. 
This will be much more fluid, and will resemble 
milk rather than cream. If the solution of borax 
be mixed with linseed oil in any other proportions 
than those which I have specified, the mixture, 
although complete at the time of its preparation, 
will, after some hours or days, become separated 
into the two definite combinations which I have 
described ; the more fluid compound occupying 
the lower portion, and the more creamy, the upper 
portion of the vessel that may contain them ; and 
if the proportion of the boracic solution should 
exceed that of the oil, then a small quantity of 
oil will rise to the surface above the two definite 
mixtures. 

It may not be amiss to describe here the borax 
with which I have been operating. It was a por- 
tion, taken at random, from a quarter of a hun- 
dred weight of the ordinary borax of commerce, 
that had been procured from a wholesale and re- 
tail druggist. 

Twenty-two grains were broken from a clean 
crystal, and carefully fused in a platina crucible 
that weighed 196.14 grs., over a lamp furnace. 
The total weight of the borax and crucible, being 

* Continued and concluded from page 5. 


218.14 grs. before the fusion of the borax, became 
207.6 grs. after its fusion ; consequently, the loss 
(which was water) amounted to 10.54 grs., or 
47.9 per cent. This result accords with tolerable 
accuracy with many of the published statements 
on this subject : 1 will quote a few, for the benefit 
of the sceptical. The per-centage of water in 
pure, crystallized, hexahedral borax is stated — 

By Brandc to be 47.35 parts. 

Kirwan „ 47.00 do. 

Turner „ 47.09 do. 


47.09 do. 

Barnes „ ...... 47.80 do. 

Gmelin „ 46.60 do. 

Berzelius „ ...... 47.10 do. 

M. L. S. Thillaye „ 48.00 do. 

Dumas „ 47.10 do. 

This point being settled, I tried its solubility in 
clean rain water. To 1 oz. (avoirdupois) of bo- 
rax 1 added 22 fluid ounces of water, at 100 deg. 
Fahr., and placed the vessel that contained these 
ingredients by the fire during two hours, and 
stirred the mixture repeatedly, until the whole of 
the borax was dissolved. 

The loss of water occasioned by evaporation 
was ascertained by a mark scratched upon the 
glass vessel, and it was supplied. Two other fluid 
ounces of water were added as the solution cooled ; 
making the total quantity of water 24 oz. No 
crystals appeared upon the interior surface of the 
glass until several hours had elapsed, and then 
only a very few minute brilliant crystals had been 
formed upon the bottom of the vessel. The tem- 
perature was then 42 de$. Fahr. 

The solution was again gradually warmed, and 
the crystal* were redissolved, upon its attaining 
the temperature 60 deg. Fahr. : the specific gra- 
vity of the solution, at 60 deg. Fahr., was 1.020. 
It was therefore evident that 24 fluid ounces of 
water were saturated by 1 oz. of borax, at the 
temperature 42 deg. Fahr. I would, therefore, 
recommend these proportions, because they are 
adapted to every temperature at which an artist 
can work. If reference be made to chemical au- 
thors upon the subject of the solubility of borax 
in distilled water, it will be found expedient to 
have recourse to experiment : thus— 

Water at Boiling 

60 deg. Fahr. Water. 

Berzelius says it ia soluble in 12 parts, or in 2 parts. 

Braude „ „ 12 do. „ 2 do. 

Urc „ „ 12 do. „ 2 do. 

Fourcroy „ „ 12 do. „ 6 do. 

Chaptal „ „ 18 do. „ 6 do. 

Walkrius „ „ 20 do. „ 6 do. 

Turner „ „ 20 do. „ 6 do. 

Reid „ „ 20 do. „ 6 do. 

• Under such conflicting assertions, the artist 
cannot be deceived if, after boiling l oz. of borax 
with an imperial pint of rain water, in a covered 
vessel, he finds that, as the liquid cools, crystals, 
how minute soever they may be, are deposited 
upon the sides or bottom of the vessel. He may 
then be quite sure that the water is saturated, and 
that it cannot dissolve more borax at the existing 
temperature. 

Having agitated together seven measures of the 
saturated solution of borax with four measures of 
linseed oil, merely because this mixture happened 
to possess an agreeable consistency, I set it aside 
as an experimental vehicle for pigments. A drop 
of this vehicle, although creamy and opaque, dried 
upon a piece of glass, without very materially di- 
minishing its transparency. Spint of turpentine 
can be readily mixed with this vehicle, without 
any separation of the constituents occurring for a 
considerable time ; finally, however, the turpen- 
tine will float in combination with a portion of the 
oil. If the vehicle be blended with white lead 
ground in oil, more oil may be added in any pro- 
portion, and spirit of turpentine also, if required. 

The aqueous solution of borax alone will not 
uqite with spirit of turpentine. If equal quanti- 
ties of each be agitated together in a glass tube, 
the whole will present a milky appearance for a 
few moments ; but by allowing a little more time, 
the water will ultimately subside to the lowest 
portion of the tube ; a slimy, white, opaque film 
will float upon the water, and above this film the 
turpentine will rest, perfectly clear, and completely 
isolated. Hence the oil was the medium through 
which the boracic solution became blended with 
the turpentine in the first instance. 

As the very peculiar property which a saturated 
solution of borax possesses of uniting so readily 
with oil in any proportions has never yet been no- 
ticed by chemical writers, 1 experimented with its 


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26 


THE ART-UNION. 


constituents, boracic acid, and soda separately, with 
a view to determine whether the results were to be 
attributed to the acid, to the alkaline base, or to 
the particular salt formed by their union. 

One hundred parts of borax may be said to con- 
sist of 

Boracic acid 35.80 parti. 

Soda 16.85 parts. 

Water 47.35 parts. 

Consequently, 24 fluid ounces of water holding in 
solution 1 ounce (avoirdupois) of borax, will con- 
tain about 4.16 percent, of borax, or 0.702 per 
cent, of soda only ! 

I first tried the effect of a saturated aqueous 
solution of boracic acid with linseed oil. They 
would not unite. I then prepared some caustic 
soda, by boiling a solution of carbonate of soda 
with quicklime, decanting the clear caustic liquor, 
evaporating in a silver crucible, redissolving in 
alcohol, and then distilling the spirit, and heating 
the residual pure soda to redness. Even in this 
state, soda contains 23 per cent, of water, and only 
77 per cent, of pure anhydrous soda. 

Ten grains of this soda were dissolved in 1000 
grs. of distilled water. But as 10 grs. of this 
soda contained only 7.7 grs. of anhydrous soda , 
the 1000 grs. of water would contain just 0.770 
per cent, of soda, — a quantity that differs very 
little from that contained in the saturated aqueous 
solution of borax. 

Seven measures of the soda solution were 
added to four measures of linseed oil. This 
mixture differed so little in appearance, that it 
might have been mistaken, by any casual observer, 
as identical with that produced by a similar pro- 
portion of the solution of borax. It had, how- 
ever, a more soapy odour, and a considerable se- 
paration of its constituent parts occurred almost 
immediately after agitation. This separation in- 
creased for many days. The lower liauid was of 
a foxy brown colour, and, after a week's repose, 
it amounted to 38 parts out of 59. The upper 21 
parts were white and saponaceous. I tried other 
proportions of soda solutions with oil, but none 
resembled the results obtained from solutions of 
borax with oil. Fancying that solutions of the 
bi-carbonate of 6oda might be more analogous to 
those of the bi-borate of soda in their effects upon 
oil, than solutions of caustic soda, I tried many 
mixtures of solutions of the bi-carbonate with oil, 
but they were all dissimilar in appearance, odour, 
and properties, to like mixtures prepared with the 
bi-borate of soda. 

In remarking that an apparently perfect com- 
bination ensues from certain mixtures of a satu- 
rated aqueous solution of borax with linseed oil, 

I do not mean to recommend the use of such a 
mixture as a perfect vehicle for pigments ; for, 
strange to say, although it can be freely mixed 
with as much more oil, or as much more water, 
as may be added to it, it cannot be very readily 
blended with colours ground in oil, or with dry 
colours. Its peculiarities in this respect can be 
best noticed by experiment. 

It is the use of a saturated aqueous solution of 
borax that I recommend, and tne inode of using 
it is simply this : mix the pigment (whether 
ground in oil or otherwise) with as much oil as 
may be considered necessary, and then add the 
aqueous solution of borax “ ad libitum ;" the 
union will be instantaneous, and complete. The 
quantity of borax that can be thus used, will not 
be sufficient to act specifically as *' a drier.'* 

Glass of borax does act as a drier, and so 
does the borate of lead (which is the precipitate 
described at p. 132 of the Art-Union, resulting 
from the mixed solution of borax, and of acetate 
of lead, and recommended by P. Rainier, Esq., 
for imparting extraordinary hardness to paint). 

Considering that oil dried solely by absorbing 
oxygen from every available source, 1 attempted 
to render it drying by the direct application of 
oxygen gas. Through a column of linseed oil 
3 inches high, and lj inch in diameter, I passed 
a continuous stream of oxygen gas (prepared from 
the chlorate of potassa) during 15 minutes ; and 
having then closed the tube which contained the 
oil, and which, at this time, contained about 3 
cubic inches of oxygen gas above the surface of 
the oil, I agitated the oil for some minutes with 
the gas, ana then left it to settle. This oil pos- 
sessed no greater tendency to dry than it had pre- 
vious to the experiment. It appears, therefore, 
j that linseed oil possesses some constituent prin- 


ciple that must either be wholly abandoned, or 
united chemically with some metallic oxide, before 
it can become dry. 

I tried the effect of hydrogen gas in a similar 
manner: it did not facilitate the drying of the 
oil in the slightest degree. Chlorine gas was also 
tried, both dry and combined with aqueous va- 
pour. In the latter form it had an extraordinary 
chemical effect upon the oil, which is still the 
subject of experiment. 

Amongst other matters, a compound li silicated 
medium" has been lately advertised as an im- 
portant discovery, and recommended to artists as 

E reductive of effects similar to those that have 
een observed in the works of Van Eyck. It has 
also been stated, in reference to its peculiar pro- 
perties, that this medium, when “ rubbed up" 
with Naples yellow upon a slab, by means of a 
steel palette knife, does not in any way affect the 
colour of the Naples yellow ; whereas all the other 
media that have been noticed in the Art-Union, 
when similarly treated, do affect this particular 
colour. Having procured a bottle of the 44 silicated 
medium" in its fluid form, and a packet of it in its 

E ulverulent form, and also some Naples yellow, 
oth in bladder and in powder, from Messrs. 
Ackermann and Co., I proceeded to experiment 
with them. 1 found that Naples yellow might be 
mixed either with oil alone, or with the “ fluid 
vitrified silicated medium," or with an aqueous 
solution of borax, and left in contact with a 
bright steel surface until the mixture had become 
dry, without the slightest change being apparent 
either in the colour of the mixture or on the sur- 
face of the steel. Hence it was obvious that the 
action, that had been observed when Naples yellow 
was mixed with various media by means of a steel 
spatula, was not of a chemical nature. 1 then 
found that Naples yellow could be mixed with 
any of the fluids mentioned, and rubbed icith a 
steel palette knife upon a porcelain slab , and that 
it might be made to appear discoloured, or other- 
wise, at pleasure. I repeated similar experiments 
with oil mixed with pure alumina (prepared by 
precipitation from a solution of alum in distilled 
water, by means of ammonia), and with finely 
pulverized crystals of quartz, and with ground 
glass of borax, and with pure silica (prepared by 
passing fluosilicic acid gas through water), and 
with Lieut. Hardy’s 14 vitrified silica medium 
in every instance 1 could at pleasure discolour the 
Naples yellow, or leave it, well mixed, without 
discolouration. 

The discolouration invariably proceeds from 
abrasion of the palette knife; and it so happens 
that the abraded particles of steel (which are in 
no respect different from those which may be 
seen when a penknife or a razor is set upon a 
clean hone, only much less in quantity) become 
much more apparent when blended with Naples 
yellow than when mixed with any of the other 
pigments. Pure precipitated alumina, when cal- 
cined, is a still more delicate test of the effects of 
abrasion from iron or steel. As a general rule, 
the more silicious the pigment, or the more 
abrasive the texture of the slab, the greater will 
be the contaminating effect from the steel palette 
knife with equal friction. It is evident, therefore, 
that all colours must of necessity be partially 
commixed with iron when they are rubbed be- 
tween steel and an abrasive surface. Many of 
them, however, may not indicate any visible dif- 
ference from such attrition,— some may even be 
improved by it, — while others, such os Naples 
yellow, may be very perceptibly deteriorated. 

And now with regard to silex,— it has no che- 
mical action whatsoever, either upon oil or upon 
any pigment in use, when it is employed as it has 
been recommended. It may therefore be intro- 
duced or omitted in any medium, agreeably to the 
fancy of the artist. * If it should be esteemed by 
any, it may be procured in the finest state of sub- 
division, from Messrs. Johnson and Co., 79, Hat- 
ton-garden, at about 3s. per ounce. 

It affects the transparency of oil to an extent 
quite equal to a similarly proportioned mixture of 
pure alumina (uncalcined), as may be observed by 
allowing a mixture of each substance with linseed 
oil to dry upon a clean slip of glass. 

If borax should be preferred, it may be ob- 
tained, retail, at about Is. 4d. per lb. One ounce 
will cost Id., and will produce from 20 to 24 oz. 
of a useful medium, which may probably super- 
sede spirit of turpentine, if an efficient drier be 


employed. The rationale of the drying of oil re- 
quires further research, and numerous patient ex- 
perimental investigations. 

If what I have here detailed, and which has oc- 
cupied considerable time, should prove interest- 
ing to your readers, it will encourage me to labour 
again in the same field. — Yours, &c. 

Charles Thornton Coathupb. 

W rax hall, near Bristol. 

OILS OR FRESCOES ? 

Sir, — From the conflicting opinions of artists 
upon the respective merits of oil and fresco paint- 
ing, one producing examples of oil pictureshaving 
failed, and another instances of a similar fate to 
fresco, many may be led to think that both are 
equally good ; and, if so, that both might be em- 
ployed together in the decoration of a large building. 
This is a point worthy of consideration, as in that 
case (if employing the genius of the country be an 
object) our water-colour painters, who would be 
good artists in fresco, might be included in the 
engagement, and would doubtless add fresh laurels 
to their already high reputation. Artists, how- 
ever, are agreed upon one point, — that to paint 
an oil picture where one would do a fresco, would 
be the height of imprudence, except upon a ceil- 
ing. The duration of an oil picture is doubtful ; 
the only approach to security would be upon a 
false wall, or stoothing; but this being made of 
light work or panels, is liable to catch fire, whereas 
fresco, which may be done literally upon the stones, 
offers no such objection, a matter of some consi- 
deration in these days, when expensive buildings 
are raised which may be destroyed in a few hours : 
many objections would be removed from oils if they 
were so painted ; but then comes painting in oil 
upon a wall, on which I promised you some remarks. 

Vasari tells us, that he painted the palace of the 
Duke Cosmo de Medici in this manner, and says, 
that the experience of many years has proved to 
him its eligibility, and therefore he has always fol- 
lowed it ; but his number of years do not appear 
to be enough, for I cannot hear that they exist, 
though it is very possible they were not sufficiently 
valued to entitle them to proper care. His direc- 
tions certainly appear good, and are as follows. 
First upon a common plastered wall : 44 Go over 
it," he says, 44 three or four times with boiled oil, 
allowing it each time to dry, and until it has had 
as much as it will absorb." This, of course, is 
simply a precaution against damp. 44 When quite 
hard, the ordinary priming of a canvas is to be 
laid over it, when the picture may be proceeded 
with." Another way — which is the way he began his 
pictures in the duke's palace — is this : 44 Make a 
stucco of marble and pounded brick ; this being 
laid upon the wall and afterwards scraped smooth, 
a mixture is then compounded of linseed oil, resin, 
and mastic ; this is laid on the wall with a brush, 
it is afterwards gone over with a hot trowel or flat 
iron, when the cracks and pores of the plaster will 
be completely filled with a strong defence against 
moisture ; on this prepared wall the usual pnming 
must be laid for the picture." The objection to 
these modes are, that from the quantity of oil used 
in the ground the pictures will gradually become 
dark and heavy looking, like the works of Charles 
de la Fosse and Jacques Rousseau in the British 
Museum ; the former having done the walls and 
ceiling of the saloon, and the latter the staircase ; 
and very gloomy they always appear, and certainly 
give no reason for employing foreign artists in 
preference to our own. 

Besides these two ways of painting in oil on a 
wall, there are two other mediums— distemper 
and encaustic painting : the former, oddly called 
distemper from the Italian word tempera , has ad- 
vantages and beauties peculiar to itself. Every- 
body has seen and admired the beautiful pictures 
and scenery in the metropolitan theatres, by Stan- 
field, Roberts, the Messrs. G reive. Marshal, and 
Tomkins : the?e are called distemper, the colours 
being mixed with size ; but the term is incorrect : 
the true distemper is the mode of tempering an 
egg till it forms a medium fit for painting with, 
and was the mode commonly used before tne in- 
vention of oil. It is very little inferior to oil, and 
offers great advantages for painting on a wall, 
as being porous, damp passes easily through it ; 
whereas oil, which is not so, is, by the constant 
assaults of moisture, forced off the wall in scales, 
i 1 am surprised that distemper is not practised 


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1842 .] 


THE ART-UNION 


27 


more generally ; though, I dare say, water-colour 
painters are aware of its value. The picture of 
* Pan Teaching Apollo to Play on the Pipes,’ in 
the National Gallery, is m distemper, afterwards 
oiled over. The mode of tempering the egg, ac- 
cording to Vasari, is as follows : — Take an egg, 
beat it up with the tender branch of a fig-tree, and 
use the milk it forms with, your colours, blue 
only excepted, for the yellow of the egg would 
torn it green : this colour must be mixed with 
sixe instead. I believe a little vinegar will pro- 
duce the same effect as the branch of the fig-tree, 
the add being the tempering property. 

Encaustic painting, the other way of paint- 
ing on a wall, has, I fear, little to recommend 
it, the wax used being liable to changes of tempe- 
rature. It is the invention of Count Caylus, and 
is supposed to be (from a passage in the works of 
Pliny) the way of painting used by the andent 
Greeks. The cloth or panel is well rubbed, first of 
all, with wax, either virgin wax or bees’ — the cloth 
may be rubbed at the back : a ground is then laid 
over the wax, of Spanish white, and on this the 
picture is painted in water-colours. When dry, 
it is held near the fire very carefully, when the 
wax will melt and absorb the colours, fixing 
them indelibly ; a wall is fixed by holding an in- 
strument near it, like a warming-pan, filled with 
lighted charcoal. 

Mhntz, who wrote a book about it, is very en- 
thusiastic in its praise ; the book may be perused, 

I dare say, on application to the librarian of the 
Royal Society of Literature, where 1 saw it. The 
plan is very practicable ; any artist can satisfy 
himself by a few experiments. 

Fresco, however, offers the greatest advantages 
for painting on a wall ; its effect would be airy and 
delicate. Oil pictures are certainly richer and 
more beautiful, but if painted on the walls of a 
building, their richness and splendour would soon 
perish. 1 cannot help thinking the new Houses 
of Parliament would look strange filled with framed 
pictures ; it would have the appearance of a private 
house or picture gallery. 

Mr. J. P. Davis, in his very excellent letter, 
writes of fresco as “The crude and husky medium’* 
— this, for a painter, is handling fresco a little 
roughly *, he forgets that, such as it is, it has pro- 
duced some of the finest pictures and designs in the 
world : and one of his arguments against it, that of 
climate, I disagree from altogether. What does Sir 
Joshua Reynolds say ? “ Raffaelle, who stands in 
general foremost of the first painters, owes his repu- 
tation, as I have observed, to bis excellence in the 
higher parts of the art. His works in fresco, there- 
fore, ought to be the first object of our study and 
attention. His easel works stand in a lower de- 
gree of estimation ; for though he continually, to 
the day of his death, embellished his performances 
more and more with the addition or those lower 
ornaments, which entirely make the merit of some 
painters, yet he never arrived at such perfection 
as to make him an object of imitation. * * * 
When he painted in oil his hand seemed to be so 
cramped and confined, that he not only lost that 
facility and spirit, but I think even that correct- 
ness of form which is so perfect and admirable in 
his fresco works.” He says also of Michael An- 
gelo — “ From those who have ambition to tread 
in this gread in this great walk of Art, Michael 
Angelo claims the next attention. He did not 
possess so many excellences as Raffaelle, but 
those which he had were of the highest kind. He | 
considered the art as consisting of little more than 
what may be attained by sculpture — correctness 
of form and energy of character. He never at- 
tempted those lesser elegances and graces in the 
art. Vasari says he never painted but one pic- 
ture in oil, and resolved never to paint another, 
auying, it was an employment fit only for women 
and children.” 

Mr. J. P. Davis also attacks their durability ; 
he says Vasari, in declaring them durable, “ only 
repeats an error of his age.” This is a strange ex- 
pression. Vasari, when he wrote the life of 
Cimabue, speaks of his frescoes painted more than 
three hundred years before. He could surely 
judge for himself ; and must have seen many fres- 
coes by the old masters. The invention of oil 
painting, if it is dated at 1410, only gives us, in 
this argument, one hundred years in favour of oil 
up to the present day. It is furthermore a well- 
known fact, that many oil pictures have perished 
before they were fifty years old. 


Here is another example. There are frescoes 
! in admirable condition by Andrea del Sarto, who 
died in 1530. There are oil pictures even by Ru- 
i bens, whom Mr. J. P. Davis, brings forward in 
favour of oil, painted one hundred years after 
these frescoes, that have long ago perished ; for 
instance, his most celebrated work, * The Descent 
from the Cross,’ which Sir Joshua Reynolds says 
was falling from the canvas. Vide his “ Journey 
in Flanders and Holland,” which he made sixty 
years ago. Rubens died in 1641, which, at the 
outside, leaves one hundred years for the duration 
of his greatest work. This picture, it must he 
remembered, is in a church, perhaps on the wall, 
which is the reason of its decay. Andrea del Sarto’s 
frescoes are, therefore, more than three hundred 
years old ; and we may, I dare say, give them ano- 
ther hundred years, the limits, perhaps, for the 
existence of most pictures. If the Houses of Par- 
liament are to be embellished, the noble names 
composing the committee ought to be a sufficient 
guarantee for the works being done in the most 
Advantageous way ; and artists will surely be satis- 
fied with their decision, as the parties are some of 
their greatest patrons. — Yours, &c. 

Weld Taylox. 

Since writing the above I have carefully examined 
the paintings on the walls of Montagu House; they are 
excellent examples for experience. The walls of the 
staircase and ceiling of the entrance hall have almost 
perished from the peeling away of the colours, but the 
ceiling of the saloon is in tolerable preservation ; had 
they been done in fresco, I can confidently say they 
would have been in good repair. Artists should exa- 
mine them before the building is pulled down. 

WILL OF SIR FRANCIS CHANTREY. 

[As this document has given rise to various surmises, 
and also, by the way, to a very unnecessary and useless 
newspaper controversy, we think it desirable to print 
it entire; notwithstanding that, by so doing, we must 
omit several matters that we can ill spare. The will of 
the late estimable gentleman and accomplished artist, 
cannot fail to have a prodigious influence upon the 
future state and character of the Arts in this country. 
His bequest will form a nucleus for future gatherings ; 
and probably be the means of giving to the Royal 
Academy immense power to advance the interests of 
the profession over which they preside. Upon this 
topic we shall have much to say hereafter.] 

I, Sir Francis Chantrey, of Lower Delgrare Place, 
Knight, Sculptor, Member of the Royal Academy of 
Arts in London, and D.C.L. in the University of Ox- 
ford, hereby revoke all wills, codicils, and other tes- 
tamentary dispositions heretofore made by me, and 
declare this to be my last will and testament: first, 

I direct that my body be interred in my vault in the 
churchyard of Norton, in the county of Derby. I 
give and bequeath unto each of my executors, herein- 
after named, who shall act in the execution or this my 
will (except my wife, who is an executrix), the sum of 
*2000 sterling, free from legacy duty. And I give 
and bequeath all my household furniture, books, pic- 
tures, drawings, plate, linen, glass, wines, and other 
liquors, and my carriages and horses, models, and 
casts, not by this my will, or by any codicil or codicils 
thereto given or bequeathed to any other person or 
persons, or directed to be otherwise disposed of, unto 
ray dear wife, Dame Mary Ann Chantrey, her execu- 
tors, administrators, and assigns. And I hereby em- 
power Charles Stokes, Ac., Ksq., George Jones, &c., 
Esq., and Charles Hampden Turner, Esq., three of my 
executors hereinafter appointed, or the survivors or 
survivor of them, or the executors or administrators 
of such survivor, to destroy such of ray drawings, 
models, and casts, as they or he may in their or nis 
uncontrolled judgment consider not worthy of being 
preserved. And my will is, and 1 direct that such of 
the works of Art upon which 1 may be engaged at the 
time of my decease, as shall be judged by my execu- 
tors to be in a sufficient state of progress, shall be 
carried on and completed under their direction, pro- 
vided that the parties to whom such works belong 
agree to such arrangement; and that my execators 
shall set apart and appropriate such sum and sums of 
money as snail be requisite for discharging all the ex- 
penses attending the carrying on and completing of 
the same works; and in case my friend and assistant, 
Allan Cunningham, shall be acting as my assistant at 
the time of my decease, it is my wish that my execu- 
tors should engage his services to assist in the com- 
pletion of the said works, and generally in the adjust- 
ment of my professional affairs, at such stipend or 
other usual remuneration as he may be in receipt of 
from me at the time of my decease ; and upon the 
completion of the said works and the winding up of my i 
professional affairs, in case the said A. Cunningham | 
shall superintend the same to the aatisfaction in all i 
reapects of my executors, and shall be living at the 1 


above period of completion, I give and bequeath unto 
the said A. Cunningham the sum of *2000 sterling, 
free from legacy duty, but without any interest in the 
meantime; and I hereby authorize and empower my 
executors to employ any other competent person or 
persons in the stead of the said A. Cunningham for 
the purposes aforesaid, in case he shall not, for any 
reason, coutinne to act and assist in my professional 
affairs as aforesaid, and also to employ all necessary 
workmen at weekly or other salaries; and for the bet- 
ter carrying on and completing the said works, I di- 
rect that such works shall be carried on and completed 
in the studios, workshops, foundery, buildings, and 
premises which may be used by me for the purposes 
of roy profession at the time of my decease. And it is 
my wish that Mr. Henry Weekes should also be em- 
ployed by my executors, under the superintendence of 
the said A. Cunningham, in completing any models or 
other works at bis usual stipend or remuneration. 
And I direct that he shall continue to occupy bis 
present residence, being my house. No. 20, Lower 
belgrave Place, for the term of one year after my de- 
cease, or longer at the discretion of my execators (in 
case it shall then happen to be his residence), without 


*1000 sterling, free from legacy duty, bnt without any 
interest in the meantime ; but in case of his death, 
before my executors have discontinued his services, 
instead of the said legacy of *1000, I give to the exe- 
cutors or administrators of the said H. Weekes the 


bequeath, all my freehold and copyhold hereditaments, 
situate, lying, and being at Norton aforesaid, and all 
other my freehold and copyhold hereditaments what- 
soever and wheresoever unto and to the use of my said 
wife, M. A. Chantrey, her heirs and assigns for ever. 
And as to all those, my leasehold messuages or tene- 
ments and hereditaments, sitnatc in Lower Belgrave- 
place and Eccleston-street and Eccleston-place re- 
spectively, in the county of Middlesex (but subject to 
the provision aforesaid), and all other my leasehold 
hereditaments, and premises whatsoever and where- 
soever, and all railway, canal, and road bonds, and alt 


real estate in any public companies, and also as to all 
monies which at my decease may be due and owing to 
me on mortgages or other real securities, and all the 
rest and residue of my present and future real and 
mixed estate of what nature or kind soever, I do here- 
by primarily subject and charge the same to and with 
the payment and satisfaction thereout of all my just 
debts, funeral and testamentary expenses, aud the 
several pecuniary legacies bequeathed in and by this 
my will, or by any codicil or codicils thereto, and of 
the legacy doty payable in respect of such legacies, 
and of all such sum and sums of money as shall be re- 
quisite for discharging the expenses of earn ing on and 
completing any of my unfinished works or art as 
hereinbefore provided, it being my will and intention 
that all my otner personal estate shall be wholly exone- 
rated from the aforesaid payments or any of them; 
and subject and charged as aforesaid, I give and be- 
queath all and singular the same leasehold heredita- 
ments and premises, and real securities, and the in- 
terest and dividends due thereon, and the residue of 
my real estate and other the premises lastly hereinbe- 
fore devised and bequeathed, unto and to the use of 
my said wife, M. A. Chantrey, her heirs, executors, 
administrators, and assigns, absolutely to and for her 
and their own use and benefit. And I give and be- 
queath all my stocks, shares, and interest m the public 
funds and government securities, whether British or 
foreign, ana all sums of money which may be due or 
owing to me upon bonds or other personal securities, 
or upon sim pie contract, and all and singular other my 
pure personal estate and effects whatsoever, and of 
what nature or kind soever (not specifically given or 
bequeathed in and by this my will, or by any codicil 
or codicils thereto), unto the 6aid C. Stokes, G. Jones, 
and C. H. Turner, their executors, administrators, and 
assigns, upon the trusts aud for the intents and pur- 
poses hereinafter declared and expressed of and con- 
cerning the same, that is to say, upon trust that they, 
the said trustees [here follow tlie customary powers of 
sale, transfer, &c., and for reinvestment of proceeds in 
government securities]. And my will is, and I do here- 
by direct, that the trustees or trustee for the time being 
or this my will, shall stand possessed of and interested 
in such last-mentioned stocks, funds, and securities, 
&c.,upon trust, during the widowhood of my said wife, 
to pay and apply the interest, dividends, and annual 
produce thereof, by equal half-yearly payments (the 
first of such payments to be made at the expiration 
of six calendar months from the day of my decense), 
unto her, my said wife, for her own use and benefit ; 
but in case she shall marry again, then from and after 
such second marriage, ana during the then residue of 
her life, by aod out of the same annual iuterest, di- 
vidends, and produce, to pay one clear annuity or 
annual sum of *1000 unto such person or persons, 
and for such intents and purposes as my said wife, 
notwithstanding such future coverture, shall direct or 
appoint. [Here follow the customury clauses for pro- 
tection in case the wife should marry again.] And 
from and after the decease, or second marriage of my 


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THE ART-UNION 


[Feb, 


said wife, which shall first happen, then upon trust to 
pay out of the said interest, dividends, and annual pro- 
duce, one annuity or clear yearly sum of £300 to the 
said C. Stokes, and one annuity or clear yearly sum of 
jdr200 to the said G. Jones, auring their respective 
natural lives, for their own respective absolute use and 
benefit, the same annuities to be free from legacy 
duty, &c. And upon further trust, that after the de- 
cease or second marriage of my said wife (whichever 
shall first happen, the trustees or trustee for the time 
being of this my will, do and shall so long as my 
tomb in the churchyard of the said parish of Norton, 
constructed by me and completed according to such 
instructions as 1 may leave for that purpose snail last, 
and expressly with the view of having ray said tomb 

P reserved from destruction, on the first day of Decem- 
er in each and every year, pay out of the said interest, 
dividends, and annual produce of my said residuary 
pure personal estate to the vicar or clergyman of the 
parish church of Norton aforesaid, who shall reside in 
the said parish of Norton, one annuity or clear yearly 
sum of £200 free from legacy duty, upon trust, never- 
theless, that such vicar or clergyman do and shall so 
long as my said tomb shall last, on the 21st day of 
December in each and every year, pay the sum of £50, 
part of the said last-mentioned annuity or clear yearly 
sum of £200, to the schoolmaster of Norton school, 
residing in the said parish of Norton, who, being a 
member of the Established Church of England, do and 
shall, so long as my said tomb shall last, himself per- 
sonally instruct ten poor boys of the said parish of 
Norton, chosen and selected by such vicar or clergy- 
man, in reading, writing, arithmetic, and other branches 
of general education, free from any expense to the pa- 
rents of such poor boys ; and upon this further trust 
that such vicar or clergyman do and shall, so long as 
my said tomb shall last, on the said 21st day of 
December, in each and every year, pay out of the said 
annuity or clear yearly sum of £200 last mentioned, 
the sum of £\0 each, to five poor men, and five other 
poor persons, being either widows or single women, all 
such persons being parishioners of the said parish of 
Norton, who, in the judgment of such vicar or clergy- 
man shall be most deserving. And it is my will, that 
such vicar or clergyman, as some compensation for bis 
care, trouble, and attention in and to the matters afore- 
said, shall retain the residue of the said annuity or clear 
yearly sum of j£ > 200 last mentioned for his own use. 
And I declare that the receipt or receipts in writing, 
signed by sack vicar or clergyman, shall at all times 
be a sufficient discharge and sufficient discharges to 
the said trustees or trustee for the time being of this 
my will, for such payments of the said last-mentioned 
annuity or clear yearly sum of £200 as shall in any 
such receipt or receipts be expressed to have been re- 
ceived, to be applied for the purposes and in manner 
aforesaid. And it is iny desire and intention, that after 
the death or second marriage of my said wife, whichever 
shall first happen, subject to the said annuities, or such 
of them as shall for the time being be payable, the clear 
income of ray aforesaid residuary pure personal estate 
shall be devoted to the encouragement of “ British 
Fine Art in Painting and Sculpture only,” un- 
der and subject to such rules and regulations as I shall 
in and by this my will, or by any codicil or codicils 
thereto, make and appoint for that purpose; and in 
default of such rules and regulations, and subject 
thereto, in case the same shall be incomplete and in- 
sufficient, my will is, and I do hereby direct that 
from and after the decease or second marriage of my 
said wife, whichever shall first happen, the said trus- 
tees or trustee for the time being of this my will do 
and shall apply and dispose of the clear interest, divi- 
dends, and annual produce of my said residuary pure 
personal estate, after answering and satisfying there- 
out the said annuities, or such of them as shall from 
time to time be payable, in the manner hereinafter 
mentioned (that is to say), upon trust, that the trus- 
tees or trustee for the time being of this my will, do 
and shall pay over the same yearly and every year by 
one or more payment or payments, as they or he shall 
think proper, to the .President and Treasurer for the 
time being of the Association of Eminent Artists, now 
known as and constituting the Royal Academy of 
Arts in London, or to the President and Trea- 
surer of any other society or association which, in the 
event of the title “ Royal” being withdrawn by the 
Crown ? or of the Royal Academy being dissolved, or its 
denomination altered, may be formed by the persons 
who may be the last members of the Royal Academy of 
Arts in London, whatever may be the denomination 
assumed by such last members. And I declare, that 
the receipt and receipts in writing of the President 
and Treasurer, for the time being, of the Royal Aca- 
demy, or of such other society or association as afore- 
said, shall be a sufficient discharge and discharges to 
the trustees or trustee for the time being of this my will, 
for the monies so from time to time paid over as afore- 
said. and shall entirely exonerate such trustees or trus- 
tee rrom all responsibility as to the future application 
and disposition of the same mo lies. And my will is, 
and 1 do hereby direct, that from and out of the mo- 
nies so paid over, one annuity or clear yearly sum of 
.£'300 shall be retained by such President for the time 
being, to and for his own absolute use and benefit ; and 
that nn annuity or yearly sum of £50 shall be paid 
thereout to the Secretary, for the time being, of the said 
Academy, Society, or Association, for his own absolute 
use and benefit, *o« condition that such Secret art/ shall 


* Passage in italics interlined in original 


attend the meetings of my trustees, and keep in a book, 
to be preserved by them, a regular account of all the pro - 
eeedinos: such two last mentioned annual sums to be 
payable on the first day of January in every year, and 
the first payment to made on the first day of January 
in the year succeeding that in which my said wife shall 
die or marry* * 8 the case may be ; and neither of such 
annual sums to be apportionable for a broken part of a 
year: and the clear residue of the same monies shall 
be laid out by the said President and other members 
composing such Council, for the time being, of the 
Royal Academy, or of such other society or association 
as aforesaid, when and as they shall think it expe- 
dient in the purchase of Works of Fine Art of the 
highest merit in Painting and Sculpture that 
can be obtained, either already executed, or which 
may hereafter be executed by artists of any nation, 
provided such artists shall have actually resided in 
Great Britain during the executing and completing of 
such works, it being my express direction that no work 
of Art, whether executed by a deceased or living artist, 
shall be purchased unless tne same shall have been en- 
tirely executed within the Shores of Great Britain. 
And my will further is, that in making such purchases, 
preference shall, on all occasions, be given to works of 
the highest merit that can be obtained, and that the 
prices to be paid for the same shall be liberal, and shall 
oe wholly in the discretion of the President and Coun- 
cil of the Royal Academy, or of such other society or 
association as aforesaid. Ana my will further is ? that 
such President and Council, in making their decision, 
shall have regard solely to the intrinsic merit of the 
works in question, and not permit any feeling or sym- 
pathy for an artist or his family, by reason of liis or 
their circumstances or otherwise, to influence them. 
And I do hereby further direct, that such President 
and Council shall not be in any manner obliged to lay 
out and expend in every or any one year, either the 
whole or any part of the monies so paid over to them 
for the purpose aforesaid, or any accumulations that 
may arise therefrom, but that the same respectively 
may from time to time be reserved and accumulated 
for a period not exceeding five successive years, if such 
President and Council shall see occasion. And I do 
expressly declare my will and mind to he, that no com- 
missions or orders for the execution of works to be 
afterwards purchased as aforesaid, shall at any time 
be given by such President and Council to any artist 
or artists whomsoever. And I further declare my will 
to be, that the President and Council of the Royal 
Academy, or of such other society or association as 
aforesaid, do and shall, within the succeeding year next 
after any work shall have been purchased by them as 
aforesaid, cause the same to he publicly exhibited for 
the period of one calendar month at the least in the 
annual exhibition of the Royal Academy, or in some 
important public exhibition of Fine Arts, the same to 
be selected by such President and Council, subject to 
such regulations as they shall think fit and proper. 
And I direct that the said works shall be selected by 
the decision of a majority of the members of the Coun- 
cil for the time being of the Royal Academy, or of such 
othei society or association as aforesaid, the President 
thereof having in such selection one vote as a mem- 
ber of the Council and a casting vote as President 
thereof. And I do hereby expressly direct, that after 
every purchase skull have been made by such 
Council, the names of those members of the Council 
who shall have sanctioned or opposed such purchase 
shall be entered in some book to be kept for that pur- 
pose, which book shall at all times remain open for the 
inspection and reference of all the members of the 
Royal Academy, or of such other society or association 
as aforesaid, and of the trustees or trustee for the time 
being of this my will. And it is my wish and inten- 
tion, that the works of Art so purchased as aforesaid, 
shall be collected for the purpose of forming and 
establishing a tublic National Collection of 
British Fink Art in Painting and Sculpture 
executed within the shores of Great Britain, in the 
confident expectation that, whenever the collection 
shall become or be considered of sufficient importance, 
the government or the country will provide a suitable 
and proper building or accomodation for their preser- 
vation and exhibition as the property of the nation, 
free of all charges whatever on my estate. And it is 
my wish that my trustees or trustee, for the time 
being, and the President and Council of the Royal 
Academy, or of such other society or association as 
aforesaid, shall use their best endeavours to carry my 
object into proper effect. But 1 expressly direct, that 
no part of my residuary pure personal estate, or of 
the annual .income thereof, shall be appropriated in 
acquiring any depositary or receptacle whatever, for the 
aforesaid works of Art, otherwise than in providing a 
place of temporary deposit and security whenever 
needful, and in defraying those expenses which shall 
be absolutely required for the necessary preservation of 
the said works of Art so long as they shall remain in 
such place of temporary deposit. And in case the 
Royal Academy and such other society or association 
as aforesaid, if any, shall be dissolved or cease to act 
for the purposes aforesaid, l do hereby direct, that the 
trustees or trustee for the time being of this my will, 
shall endeavour to obtain the authority and sanction 
of Parliament to some proper scheme for the future 
application of the annual income of my residuary pure 
personal estate, such scheme being in strict accordance 
with my intention hereinbefore expressed, viz., that 
such income shall be for ever devoted towards the en- 


couragement of Fine Art in Painting and Sculpture 
executed within the shores of Great Britain. And it is 
my earnest request, that my said wife do, with all 
convenient speed after my decease, apply for and en- 
deavour to obtain an Act of Parliament settling, or au- 
thorizing her to settle, the said freehold and copyhold 
hereditaments, and other real and mixed estate to 
which she may become entitled under this ray will, or 
so much thereof as shall remain after defraying the ex- 
penses of applying for and obtaining such Act of Par- 
liament and making such settlement, upon the same 
trusts as are hereinbefore declared concerning my re- 
siduary pure personal estate, but not so as to double 
or otherwise increase all or any of the annual or other 
sums hereinbefore made payable thereout, but so 
nevertheless that my said wife may have a life interest 
therein, or in such part thereof as she may desire. 
Nevertheless, 1 declare, that no forfeiture shall be oc- 
casioned by want of such Act of Parliament, but that in 
case the same should not be obtained, the same freehold 
and copyhold hereditaments, and other real and mixed 
estate, shall go and be held and enjoyed under this my 
will, in the same way as if no such request had been 
contained in relation thereto. And I do hereby nomi- 
nate and appoint ray said wife, M. A. Chantrey, and the 
said C. Stokes, G. Jones, and C. H. Turner, executrix 
and executors of this my will. But I hereby declare, 
that if either of my said executors shall be indebted to 
me at the time of my decease, such debt or debts sball 
not be extinguished by reason of his being so appointed 
an executor. [Here follow clauses to authorize the 
trustees to act in cases where he himself held property 
in trust, and, in case of death, &c., to appoint new 
trustees, &c.] And it is my earnest wish, that 
such appointment be made within three calendar 
months next after the happening of any such vacancy 
as aforesaid, and that the number of three trustees may 
be kept up during the lifetime and widowhood of my 
said wife, and that after her decease the trustees be 
increased to five, by adding to the number of three 
the President and Treasurer for the time being of the 
Royal Academy, or of such other society or association 
as aforesaid, so that the number of five trustees, always 
including such President and Treasurer, shall thence- 
forth be kept up, &c. [Clauses for investing new 
trustees witn full power.] And I direct that every 
trustee who shAll be appointed under the power here- 
inbefore contain 'd (excepting the President and Sec re- 
tary of the Royal Academy, or of such other society or 
association as aforesaid) shall upon his appointment 
receive one clear sum of rfriOO sterling, to be retained 
out of the income of my residuary ^>ure personal 
estate for the current year in which any such appoint- 
ment shall take place, the same sum to be some remu- 
neration for the trouble imposed upon such new ap- 
pointed trustee. [Here follow the customary clauses 
for the legal discharge reimbursement, and security of 
the trustees.] In witness whereof I, the said Sir 
Francis Chantrey, the testator, have to this my last 
will and testament, &c., set my hand, this thirty-first 
day of December in the year of our Lord one thousand . 
eight hundred and forty.— F. Chantrey.— Signed, pub- 
lished, &c.— Witnesses, John Walter, 4, Symond’s 
Inn, Attorney-at-law, Rose Mary Walter, 47, Ebury' 
Street Pimlico, Spinster. 

This is a codicil to the last will and testament of 
me, Sir Francis Chantrey, of, &c.— Whereas, in and by * 
my said will, I have directed that in case my friend 
and assistant, Allan Cunningham, shall be acting as 
my assistant at the time of my decease, it is my wish 
that my executors should encage his services to assist 
in the completion of the works therein referred to, and 
generally in the adjustment of my professional affairs, 
at such stipend or other usual remuneration as he may 
be in receipt of from me at tbe time of my decease ; 
and upon the completion of the said works, and the 
winding up of my professional affairs, in case the said 
A. Cunningham shall superintend the same to the sa- 
tisfaction, in all respects, of my executors, and shall 
be living at the above period of completion, I have 
given and bequeathed unto the said A. Cunningham 
the sum of j 62G00 sterling, free from legacy duty, bnt 
without any interest in the meantime. Now I do 
hereby, in addition to the said sum of £2000 so given 
to him, give and bequeath to him, the said A. Cunning- 
ham, one annuity or clear yearly sum of jtflOO, for and 
during the term of bis natural life, payable quarterly 
out of tbe rents or interest and dividends of tne lease- 
hold and other property hereinafter mentioned, given 
and bequeathed by my said will to my wife, M. A. 
Chantrey. And after tne decease of the said A. Cun- 
ningham, I give and bequeath a like annuity or clear 
yearly sum of £\00 to Jean Cunningham, the now 
wife of the said A. Cunningham, for and during the 
term of her natural life, payable quarterly out of the 
rents or interest and dividends or the leasehold and 
other property hereinafter mentioned, given and be- 
queathed by my said will to my said wife. And whereas, 
as to all those leasehold messuages or tenements ana 
hereditaments situate in Lower Belgrnve-place and 
Kccleston-street, &c. &c., and all tbe rest and residue 
of my present and future real and mixed estate, of 
what nature and kind soever, I have primarily sub- 
jected and charged the same to and with the payment 
and satisfaction thereout of all my just debts, &c., in 
addition to tlie aforesaid charges thereon, 1 farther 
charge all and singular the same leasehold heredita- 
ments and premises and real securities, and the prin- 
cipal and interest due thereon, and the residue or my 
real estate, and other the premises lastly hereinbefore 


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i 

j 


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mentioned, with the payment of the said several an- 
nuities hereby given and bequeathed to the said A. 
Cunningham and Jean Cunningham his wife, it being 
my will and intention that all my other personal estate 
shall be wholly exonerated from the aforesaid pay- 
ments, or any of them ; and, subject and chargnl as 
aforesaid, I give and bequeath all and singular the 
same leasehold hereditaments and premises and real 
securities, and the principal and interest due thereon, 
ana the residue of my real estate, and other the pre- 
mises lastly hereinbefore mentioned, unto and to the 
use of my said wife, M. A. Chantrey, her heirs, execu- 
tors, administrators, and assigns absolutely, to and for 
her and their o,wn use and benefit. And in all other 
respects 1 ratify and confirm my said will. In witness 
whereof, I, the said Sir Francis Chantrey, have to this 
codicil to my said will set my hand this third day of 
November, in the year of our Lord one thousand eight 
hundred and forty-one.— F. Chantrey.— Signed, pub- 
lished, &c. — Witnesses, John Walter, Attorney-at-Lnw, 
4, Symond’s Inn; Rose Mary Walter, 47, Ebury-street, 
Pimlico. ' 

Proved at London, with a codicil, 15th of December, 
1841, before the worshipful Robert Joseph Phillimore, 
Doctor of Laws and Surrogate, by the oaths of Dame 
M. A. Chantrey. widow, the relict, C. Stokes, F.sq., G. 
Jones, Eaq.j and C. H. Turner, Esq., the executors, to 
whom administration was granted, having been first 
sworn duly to administer. 

THE ARTS IN CONTINENTAL STATES. 

ITALY. — Bologna. — Necrology. — We an- 
nounced in the last number the appointment of 
Mr. Cockerill in the room of M. Antolini as a 
member of the Institute of France. We now give 
the following notice of the well known and accom- 
plished architect the Cavalier Gio Antonio Anto- 
lini, which we had not earlier an opportunity of 
mentioning. He was born in 1754, of a respecta- 
ble family at Castel Bolognese: he studied at 
Bologna, and there took a degree as an architect 
and engineer. He was called to Rome for the 
works on the Pontine Marshes, and at Rome he 
studied deeply the remains of antiquity, and pub- 
lished “ Illustrations of the Temple of Hercules 
at Cori.** He then went to Milan, where he 
designed the plan of the Forum Bonaparte. He 
was afterwards named to two chairs, those of 
Architecture in the Academy, and of Geognosy in 
the University of Bologna ; and he was subse- 
quently elected a member of many learned bodies, 
including the Institute of France. He held many 
honourable public appointments, and executed 
many works for the Italian government as well as 
for individuals ; he was also employed in foreign 
labours, latterly f or the Viceroy of Egypt. He 
has left, it is said, in his son Philip Antolini, the 
heir of his talents as well as of his name. 

He has published the following works, besides 
the above mentioned :— 44 The Rui.is of Velleja in 
the Piacentino ; M “The Temple of Minerva in 
Assisi, * confronted with the plates of Andrea 
Palladio; ‘‘Elementary Ideas of Civil Architec- 
*.* Notes to the Treatise of Architecture by 

Milizia.” J 

The Exhibition at Bologna.— On the 26th of 
December the distribution of premiums to the 
students of the Fine Arts, took place with the 
usual forms. The opening discourse was read by 
the Professor of Architecture, Signor Serra, who 

S ave a brief eulogium on the merits of those aca- 
demicians who have died during the past year, 
viz., Proff. Santini, architect ; Giungi, sculptor ; 
Tambrom, landscape painter ; Rosaspina, engraver. 
The learned Dr. Ventarini read an eloquent ora- 
tion on the true mission of the Fine Arts for the 
civilization of society. 

The Exhibition, which was opened the same 
day, contains many and remarkable works ; we 
can only note a few of the principal in each style. 

Historical Painting.— Schiavoni(Proff. Natale) . 
— This celebrated artist, in all his works, gives 
proof that he was born in the country of Titian 
Veronese. His * Sleeping Flora/ size 
of kfe, is a superb picture for the transparency 
and variety and truth of its colonring, the elegance 
of its forms, and purity of its style. 

Schtavoni ( Felice ) shows that he follows his 
father s steps in his beautiful ‘ Love, as a Gar- 
dener/ 

Bertini (G. b. au .)— 4 The Constable of Ches- 
ter/ from Sir VV. Scott, is well imagined and 
well designed, but wants harmonv. 

Por trai ts.—Rasori (B.A.). — A portrait of the 
celebrated historian Repetti — a work worthy of 
Vandyke. 

Hayter (G.) B.A. Painter of H.M. Queen 


Victoria. — Portrait, size of life, half-length, of his 
old friend, the lamented Proff. Rosaspina. This 
picture is managed with the boldness of a master, 
and with a fine contra-position of light and reflec- 
tion ; the whole effect is great and true. 

Givagus ( Simeon de Rezan). — This Russian 
painter, who has been for some time a resident in 
Bologna for the purpose of making copies of the 
famous works of Guido, Cavedoni, Tiarini, in 
short of all the most excellent of the old Bolognese 
masters, exhibits the portrait of an old 4 Greek 
Priest/ remarkable for its relief, characteristic ex- 
pression, and harmony. 

Landscapes.— Campedelli ( C .). B.A. t exhibits 
four landscapes, where we find the happy mixture 
of Claude Lorraine and Paul Potter. The 4 Sasso 
Hill ' and 4 Fountain of Love ' are looked on as 
incomparable. 

Barbieri (G). — Among the multitude of clever 
landscape painters who exhibit so many pictures, 
we distinguish, by this artist, 4 A Scene on a Swiss 
Lake/ which reminds us of the style of Poussin. 

Morghen (AJ, the son of the great engraver, 
exhibits many fine pictures. His 4 Land Storm * 
is too true, it is fearful in its terrible beauty. 
This is a real artist, approaching the style of Sal- 
vator Rosa. 

Sculpture. — Baruzzi (Prof. C.)— Five busts in 
Carara marble really magnificent, but his statue 
of Madame Taglioni, as 4 The Sylphide/ is more 
like a spirit of air than a marblfe ; she seems to fly. 

Putti (N .) — 4 Prayer/ a charming statue. 

Engravings.— F. Anderloni and G. Garavaglia 
have a glorious work in this Exhibition ; it is the 
famous 4 Assumption’ of Guido, at Genoa. The 
true drawing, the decided and yet soft cut of the 
burin, which conveys the transparent colouring of 
Guido, is indeed admirable. This work is also 
interesting as recalling an historical anecdote : — 
Guido had left the school of Calvart to study under 
the Caracci, consequently his old master was 
offended. The fame of this picture, however, 
moved old Calvart to wish to see it, that he might 
criticise the new style of his roving pupil : but 
when he found himself in front of the picture, 
Calvart forgot anger and all such feelings. The 
old man ran to Guido, kissing his hands, and ex- 
claimed with enthusiasm, 44 Blessings on you, my 
Guido, and blessings on the care 1 gave to edu- 
cate your youth to Art.” 

Florence. — Bartolini. — The Institute of 
France has named as a corresponding member the 
sculptor Professor Bartolini. 

Galleria degli Uffizj — A. Dumas lias just re- 
turned to complete the illustrations of the great 
work, 44 La Galleria degli Uffizj.” 

SPAIN.— Madrid.— Perez. — There has been 
exhibited here a truly beautiful statue by Perez, 
an artist now residing at Rome, representing, na- 
tural size, 4 Isabella of Castile, Queen of Spain/ 

FRANCE. — Paris. — Leonardo da Vinci. — 
Steam Cannon. — M. Delccluze has discovered 
among the MS. of Leonardo da Vinci, placed 
after his death in the 44 Bibliotcque Royale,” a 
document which carries back the invention of the 
steam-engine to the close of the fifteenth century ; 
at least he has published in 44 PArtiste” a notice 
of Leonardo, to which is appended a fac-simile of 
the hand-writing of one page of the precious ma- 
nuscripts, with five pen-sketches of a steam- 
cannon in all its details, and the following note 
explananatory of these designs and of the use of 
the machine. Leonardo entitles it an invention 
of Archimedes, and names it 44 Archituono.” 
44 Invention of Archimedes.” The 44 Archituono” 
is a machine of fine copper, whose purpose is to 
throw iron balls with much force and much noise. 
It is used in the following manner: — The third of 
the instrument consists in a great quantity of 
charcoal fire and a vessel containing water; when 
the water is heated, the screw of the vessel con- 
taining the water must be turned to close it 
above : all the water will escape below, descend- 
ing into the heated part of the machine, and will 
there be immediately converted into a vapour <f 
such force and in such abundance, that it will 
appear wonderful to see its violence, and to hear 
the great noise produced by this smoke. This 
machine drove out a ball of the weight of a talent. 

Ecole des Beaux Arts. — M. Ingres has been 
chosen President, and M. Jarry de Mancy Vice- 
President of the 44 Ecole des Beaux Arts'* for the 
ensuing year. 

Pantheon . — The colossal statue of 1 Immor- 


tality/ . which is the work of M. Cortot, and 
formed a part of the spectacle at the funeral of 
Napoleon, is about to be cast, and placed on the 
dome of the Pantheon. 

Count de Perregaud' s Pictures. — The sale by 
auction of Count ae Perragaud's pictures, so well 
known as the selection of an excellent judge and a 
man of taste, excited much interest among all 
buyers of pictures. There was much competition, 
and the whole pictures, in number 69, brought 
44l,628fr. about £17,600. Several we believe 
were bought for England. A. Karel du Jardin, 

4 Crossing a Ford/ brought 26,300fr., £1052; 

4 Departure for the Chase/ A. Vandervelde, 
brought 26, 850fr. £1074 ; 4 The Spy/ byP.Wou- 
vermans, brought 35,100fr., £1404. These were 
the highest prices obtained. The modern pic- 
tures proportionally sold less well than the ancient 
ones. 

Monument of Napoleon. — The members of the 
commission charged with the examination of the 
models for the tomb of the Emperor, have made a 
report to the Minister of the Interior after ex- 
amining the 84 models submitted to them at the 
44 Palais des Beuux Arts.” The following is the 
substance of it. The first inspection reduced 
the number of models for selection to 25, 
but this number still appearing too great, it was 
agreed that each member of the commission 
should choose 10 names, and that those should be 
submitted to the ballot. The result was, Messrs. 
Baillard and Visconti had the suffrages of all. M. 
Due had 11 votes : M. Duban 10; M. Labrouste 
9 ; M. Lassus 8 ; Messrs. Isabelle, Deligny, Gay- 
rard, Triquetti, and Danjou, each 7. The other 
models most approved were those of Messrs. Ca- 
nissie, Dexay, Bouchet, Feucheres, Petitat, Van 
Cleempotte, Seurre, Gauthier, Merey, and Au- 
cray. After examining the models, the commis- 
sion declared that none of the models are entirely 
satisfactory, though many are of high merit ; and 
they recommended as the best means of realizing 
the wishes of the French nation the following 
plan : — A sarcophagus of granite or porphyry, of 
a severe and noble form, placed on a pedestal of 
an indestructible material, appears to the commis- 
sion the most suitable monument which can be 
raised to contain the ashes of Napoleon. It should 
convey the idea of eternity, and that the remains of 
the great man are safe from the vicissitudes and 
and accidents of time. It ought to be constructed 
in such a manner as to survive the destruction of 
the church which contains it, and the fall of the 
dome, and it should be impervious to fire. As to 
the objection to the plan or a crypt, that it is ex- 
posed to damp and to inundations, it is not true ; 
the foundation of the Invalidcs is many metres 
above the highest waters, and its vaults are re- 
markably dry. 

The excavation of the crypt besides renders any 
other appropriation of the dome impossible; it 
must remain for ever sacred to the ashes of Na- 
poleon. The commission further expresses the 
opinion that within the enclosure ot the Inva- 
lides, but without the church, and quite apart 
from the tomb, an equestrian statue of the Em- 
peror should be erected. It further expresses the 
wish that this statue should be represented in the 
Imperial costume, to mark that Napoleon is 
honoured not less as a statesman and legislator, 
than as a warrior. The tomb within the church — 
nothing, in the presence of God; without — the 
statue— glory, in the sight of men. The.commia- 
sion does not recommend that a new program 
should be issued for a competition of models for 
the tomb of Napoleon. It limits itself to recom- 
mending this program — an open crypt within the 
Church of the In valides, an equestrian statue of 
the Emperor without, leaving to Government the 
choice of the artists who are to execute them. 

(Signed) Comte d’HouDETOT, Cb. Rem us at, 
Vitet, De Vatry, J. Ingres, David, 
Cave, E. P. Bertin, Varzollier, L. 
Peesse,Theophile Gautier, Fontaine. 

Engraving. — 4 Napoleon/ painted by Dela- 
roche; engraved by Aristides Louis. All ama- 
teurs are acquainted with the splendid portrait of 
Napoleon, painted by P. Delaroche for the Coun- 
tess of Sandwich. Napoleon is standing in his 
closet before a table covered with papers. The 
face is turned three-quarters towards the specta- 
tor, and expresses a mind full of high thoughts. 
The design is fine, the countenance dignified, the 
attitude well chosen, the likeness correct, the 


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accessories true, the picture is perfect. The 
eulogium of the picture is also that of the engrav- 
ing. Aristides Louis has perfectly preserved and 
translated the picture with his bunn. The varied 
and masterly manner in which the half-tints are 
harmonized, the light and the shadow, varying the 
touch according to the object to be represented, 
is an example of the true management of the burin, 
and is indeed surprising; it seems colour itself; 
and justly have artists and amateurs proclaimed 
this to be a masterpiece. 

GERMANY. — Stuttgard. — Necrology . — 
The great sculptor, Danneclcer, is dead. It is 
true that for several years he has been lost to the 
world and to Art, his mind being greatly im- 
paired-reduced, we believe, to second childhood, 
but his long life has only now closed at Stuttgard 
at the age of eighty-four. What traveller in Ger- 
many, at all interested in the Arts, has not visited 
Dannecker’s studio at Stuttgard, and his beautiful 
and spirited 4 Ariadne' in the villa of M. Beth- 
man, near Frankfort. It is many years since we 
ourselves paid our homage to these works, but even 
then Dannecker was an old man, and his spectacles 
and tools lay beside an unfinished statue of a very 
lovely little girl with a dead bird in her hand. We 
especially admired a charming water nymph as she 
laves in her stream, and a noble and thoughtful 
statue of 4 St. John.' The genius of J. Heinrich 
Dannecker manifested its peculiar bent at a very 
early age ; and it is said that it was by personal 
application to Duke Charles of Wirtemberg, while 
yet a child, that he obtained permission to study 
in bis academy for the Fine Arts, then recently 
established near Stuttgard. This school was in- 
tended only for the nobly born, and the parents 
of J. Heinrich Dannecker were of a humble class. 
He afterwards studied at Rome, and had the ad- 
vantage of the advice of Canova ; and there his 
statues were so much admired that he was elected 
a member of the academies of Milan and Bologna. 
His life, we believe, after his return to Germany, 
was chiefly passed at Stuttgard. His busts are 
excellent, and he has preserved to us the like- 
nesses of many eminent men. His statue of 
4 Christ/ which, it is said, owed its origin to a 
dream, is considered his greatest work, and occu- 
pied eight years of his fife. His 4 Ariadne ' and 
his 4 Sappho ’ are among the works to which he 
especially owes his fame. 

ART IN THE PROVINCES. 

Liverpool.— The results of the recent exhibition 
have not been so successful as heretofore. The sales 
amounted to between jfi’lSOO and ^1600. The following 
is a list of the pictures sold:— 4 Sunset on the Stour/ 
T. 8. Cooper. 1 Landscape and Cattle/ John Wilson, 
inn. 4 Ruins— Twilight/ W. Havell. 4 Summer Time/ 
T. Creswick. 4 Fording a Brook/ T. S. Cooper. 4 Herd- 
CjUtUe,* T. S. Cooper. 4 View near Ambeiside/ 
C. T. Burland. ‘Roslyn Castle/ T. Creswick. ‘Ship- 
ping off Mount Edgecombe, Plymouth/ S. Walters. 
1 Derwent Water/ Mrs. Aspland. ‘The Thames at 
Milton, Kent,* A. Vickers. 4 Protection/ J. H. Illidre. 
‘ Halt of the Gypsies,' M. Stanley. ‘Cottage Girl, 
and Fruit/ Geo. Lance. ‘The Gate Keeper/ H. J. 
Boddingtoa. 4 Entrance to a Village/ H. /. Bodding- 
ton. ‘Leicester and Amy/ W. P. Frith. 4 Scene in 
Cumberland/ T. W. Watts. 4 Cottage at Applethwalte/ 
T. L. Aspland. ‘View of Ben Lawers, &c./ Copley 
Fielding. 4 An English Interior/ T. F. Marshall. 
‘Gleaners Returning/ T. F. Marshall. ‘Girl at a 
Well/ Tboe. Crane. ‘Pursuit of Knowledge under 
Difficulties/ R. Farrier. 4 Temple of Venus.' W. 

A - Vickers. ‘Sketch of an 
Old Bridge / F. R. Lee, R.A. ‘The Halt,' Geo. Lance. 
4 As You Like It/ John Bishop. 4 Love/ Alex. John- 
ston. 4 Lane Scene,' H. Jutsum. 4 Weary Travellers 
homeward bound/ B. A. Gifford. 4 Loch Eltive,' L. 
Aspland. ‘Haddon Old Chase,' Tbos. Creswick. 
4 From the Fortunes of Nigel,' A. T. Derby. * Winder- 
mere/ W. Havell ‘Near Florence/ W. Havell. 
4 Anxiety,' H. P. Parker. 4 Study of a Monk Reading,' 
W. P. Fritb. ‘Dolly Vanlen, &c.,» W. P. Frith. 
‘Girt at a Spring/ P. F. Poole. ‘Milking Time,' 
James T. Egfinton. 4 A Little Fun,' P. F. Poole. 
4 Beaux Stratagem/ W. P. Frith. 4 Loch Tyne Head.' 
W. Colling wood. 4 View on the River Uratbey/ R. S. 
Henshaw. 4 Mill, near Stoke,' J. B. Crome. 4 Woman's 
Reflections/ W. 8. P. Henderson. ‘The Thames, at 
Milton,' A Vickers. 4 An Indiatnan/ Samuel Walters. 


Miss Margaret Nasmyth. 4 The Blacksmith’s Shop/ 
A. Vickers. 4 Cattle Reposing/ T. S. Cooper. 4 Wait- 
ing for the Ferry,' W. Marshal 4 The Old Sailor/ 
John Bishop. 4 Shrimpers off Bootle,' Samuel Walters. 
‘Sunset/ A. Clint. ‘Relieving the Destitute,' T. F. 
Marshall. 

Portrait or Jambs Montgomery.— A portrait of 
this distinguished poet and most estimable man has 
been recently painted by Mr. T. H. lllidge, of Liver- 
pool ; an artist with whose works we are familiar, and 
who, we have no doubt, has done justice to the import- 
ance of bis subject— that of transmitting to posterity 
a copy of the form and features of a man who has given 
so much enjoyment and instruction to his generation— 
44 Blessings be with them and eternal praise— 

The Poets/' 

Our correspondent writes in very high terms of Mr. 
Midge's work ; the portrait he describes as a very 
striking likeness; the character of intellect being hap- 
pily retained ; and a degree of refinement being given 
to the features without impairing the vraisemblance. 
As a production of art, too, it merits the most marked 
commendation. We should like to see it engraved; 


stand, lately painted a full-length portrait of Lord 
Stanley for the Liverpool Collegiate Institution. 

Edinburgh Society or Artists. — The fifth Ex- 
hibition of this Society is now open ; and while we 
rejoice to find that in it the number of portraits bear an 
insignificant proportion to the usual supply of works 
of this kind, we cannot help remarking the paucity of 
historical subjects. This Institution is, however, as 
yet in its infancy ; and we have sufficient reason, in the I 
present Exhibition, to augur an increasing interest in 
the higher department of Art. The works amount in 


number this year to 232, the majority being land- 
scapes, many of which are distinguished by some of 
the highest requisites for this style of painting. No. 10. 
4 Carisbrook Castle/ by F. Watts, is prettily painted, 


4 Carisbrook Castle/ by F. Watts, is prettily painted, 
but the general effect is injured by a want of union of 
parts. A 4 View on the Clyde/ by John Painnan, is 
painted with an admirable purity of tone and much 
depth of feeling. No. 47. 4 Braid Barn/ by W. Mason. 
This is the best of the four pictures exhibited by this 
artist. No. 60. 4 An Old Mill on the Ouse/ by Bodding- 
ton ; is a charming picture, possessing all the truth 
which generally characterizes the works of this artist. 
No. 63. 4 Prudhoe Castle/ T. M. Richardson. Often as 
we have seen this ruin on canvass, we have seen few 
better pictures of it than this. No. 70. 4 Nine Views 
of Old Houses in Edinburgh,' W. Liveall. These views 
are strikingly characteristic of the 44 old town,” and 
evince much improvement on the part of this artist. 
No. 82. 4 Near Ashfield, South Devonshire/ W. H. 
Crome. The composition of this work is admirably 
made out. No. 112. 4 In the Vale of Clwyd. Denbigh- 
shire,’ is also by Mr. Crome, and is a landscape pos- 
sessing the highest claims to admiration. Tne grey 
and time-worn bridge tells most effectively, in contrast 
with the gloom of the hills on the left of the picture. The 
sky is in perfect harmony with the general feeling of the 
work, which, on the whole, is worthy of a place by the 
side of the best performances of its class. No. 179 is by 
the same hand : it is entitled 4 Beacon Cliff, Denbigh- 
shire/ and notwithstanding its bad position, enough can 
be seen of it to determine that it is one of the best works 
in the Exhibition. It is a moonlight effect, beauti- 
fully finished, and distinguished by singular depth and 
transparency. The following works may be also men- 
tioned as of a high degree of merit 144. 4 Glen San- 


Tay/ Miss Jane Nasmyth. 4 A Covenanter,' A John 
i ton, .l? n i u *^ er8 ’ R«turn,» J. A. Pullen. ‘At Har- 
Jeur/ W. Fowler. 4 Dow Graggs/ A. Hunt. 4 On the 
■Mrer Derwent,' Mrs. Aspland. 4 Bonnington Fall,' 


145. 4 Patie and Peggy.' Thomas M 4 Culloch. With 
respect to the hanging of the pictures, au abuse seems 
to nave crept into this Institution, which we lament to 
say prevails in others— that of banging the best pic- 
tures in the worst places, and appropriating some of 
the best positions to indifferent productions. 

Monument to Burns’s Highland Mary.— Some 
considerable time since a number of admirers of the 
Scotibh Peasant Baed set on foot a subscription for 
tbs purpose of erecting a monument over the grave of 
her who first inspired tne love of Burns. Designs for tbs 
monument were requested from various gentlemen; 
among others who responded to the call, a union of 
talent was formed between Mr. G. M. Kemp, the 
architect for the monument in course of being buitt in 
Edinburgh to the memory of Sir Walter Scott, and 
Mr. Alex. H. Ritchie, sculptor, a gentleman favourably 
known in many parts of Scotland by the meritorious 
works he has executed for public bodies and indivi- 
duals. At an early period of his life he was sent to 
Rome, where he became a pupil of Thorwaldsen, whose 
medal he had the high honour of obtaining ; a distinc- 
tion which will be duly appreciated by all who take any 
interest in Art. The design for the monument above 
alluded to is chaste and appropriate ; consisting of sr 
obelisk placed on a pedestal, having three of its sides 
enriched with basso relievo representations; the 
principal being the parting of Burns with Mary on 
the banks of the Ayr ; the other two being an emble- 
matical illustration of the address 44 To Mary in 
Heaven,” and the bereaved lover lamenting over tha 
grave in which are buried bis hopes and his affections. 
The choice of these subjects is strikingly indicative of 
| a mind in harmony wiln the poet’s feelings ; while to 
complete the design, the celebrated Delta of Black- 


worthy of tne theme and of its gifted author. Soch a 
combination of talent is not frequently to be found, sod 
wa trust the men of Greenock will show by their 
adoption of it, an example which their neighbours of 
Glasgow would do well to imitate in their Wellington 
Testimonial as well as in their other public works. 

RECENT ARCHITECTURE * 

The greatest architectural novelty described in 
the present volume of the “ Companion'' is the 
building for St. George's Hall, and the new As- 
size Courts at Liverpool, originally intended to 
have been two distinct structures, Dut now com- 
bined into a single piece of architecture— one 
that, should it he fully executed according to the 
view here given of it, will be the finest edifice of 
the kingdom. Liberally as they have shown them- 
selves disposed in embellishing their town, the 
people of Liverpool have not hitherto been very 
fortunate in their selection of architects. Mr. 
Foster has engrossed their patronage too ex- 
clusively. Notwithstanding the immense sum 
expended upon it, the new Custom-house is 
almost below mediocrity as a work of Art, most 
common-place in design and in character. In- 
deed very little can be said at all in favour of the 
present so called Grecian architecture of Liver- 
pool, it being most cold, insipid, and spiritless. 
Mr. H. L. Elme's building will be an exceedingly 
rich specimen of the Grecian style, carried out 
consistently, and treated with artist-like spirit and 
feeling, both in the general conception and in the 
separate parts. It consists of a single Corinthian 
order, whose columns are to he 46 feet high, or 
five more than those of the Royal Exchange, and 
which is further raised upon a terrace ana stylo- 
bate. The principal facade, 420 feet, is divided 
into three portions, the centre one of which is 
formed by a monoprostyle colonnade of 15 inter 
columns (i. e. 16 columns), and the other two by 
square pillars, between which an ornamental 
screen wall is carried up about one-tbird of their 
height. Thus, while the whole will produce a re- 
markably rich and very unusual degree of effect 
as to continuity of columniatiou throughout, there 
will also be a very unusual degree of variety, 
without any interruption of style, as is generally 
more or less the case where part of a front is 
made to look as much as possible like the frontis- 
piece to a Greek temple, while the rest is per- 
forated with windows. In Mr. E.'s design, unity 
is very happily combined with contrast and va- 
riety; not only does the introduction of both 
square and round columns contribute to the latter, 
but the two forms mutually aet off and give value 
to each other. We have heard it objected, first, 
that there is no authority for square columns so 
applied ; secondly, that the introduction of screen 
walls between them is an idea borrowed from 
Egyptian architecture. As to the borrowing part 
of the matter, we only wish that others would 
take the hint and learn to borrow with equal 
judgment and taste, instead of eternally copying 
the same models over and over again, as they now 
do ; while as to authority, no other authority is 
needed than that of the design itself, which is no 
less tasteful and appropriate than eminently pic- 
turesque. Let whoever will make it matter off 
reproach, we make it for congratulation both to 
the architect and to the Art, that he baa here 
taken a decided step forward in it ; whereas, till 
now, Grecian architecture has remained almost 
stationary among us. We began by copying it 
servilely, yet piecemeal, and have ever since gone 
on after the same fashion, till at length the style 
has almost gone out of fashion— itself certainly 
has fallen very much into discredit of late ; ana 
no wonder, for now that the mere novelty of it 
has passed away, people begin to be weary off 
seeing the same or nearly the same portico re- 
peated on every occasion ; and some have found 
out that it requires far less talent to design a 
thing of that kind, than to compose a single piece 
of fresh detail, or to bring forward aught amount- 
ing to a new idea. Although we have by no 
means exhausted our remarks even on this build- 
ing, here we must break off for the present, 
whether we have the opportunity of returning to 
the subject again or not. Should the latter prove 
the case, our readers will, at all events, now 
know where they can find notices of many other 
structures, either recently begun or completed. 

* Continued from page 13. 


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WORKS IN PROGRESS. 

Canterbury Pilgrims Assembled at the 
Tabard, Southwark. Painted by Edward 
Corbould. Engraving by C. E. Wagstaff. 
Publishing by T. Boys. 

This is really an important work of Art : and in 
its progress thus far bids fair to be finished in a 
manner to give the very best imitation of the 
feeling of the original picture. The plate is very 
large, being of the size of Landseer’s I * * 4 Return 
from Hawking;’ and is to be finished by Mr. 
Wagstaff, in his most effective style of mezzotinto 
engraving. The subject is, of- course, from Chau* 
cer, and involves in its realization upwards of 
thirty figures ; for thus has the artist, in following 
tbe description of the poet, assembled 
44 a goodly company, 

In Southwark at this gentle hcstelry, 

That bight the Tabard fastc by the Bell.” 

The site of the celebrated inn — the ancient Tabard 
is still occopied by a house of entertainment — 
t 44 bight” the Talbot, a corruption of the earlier 
word. The movement of a numerous party, 
j about to set out upon a journey, is well described ; 

the activity is universal ; every one is in the act of 
! preparation, except the monk, and one of the 
i •• priestes three,” who are seated in easy enjoy- 
ment, that nothing around them has the power to 
disturb. One of the most prominent fore- 
ground figures is the knight, wno is already in 
| the saddle, and looking down upon his yeoman 
busied in tightening the girths. There is, as may 
be expected, an abundant display of costume in 
this work, varying from that of the jaunty squire, 
down to the plain vestment of the tenant of the 
cloister. The head dress of this period is the eargan 
or drapery, similar to what was worn in the reign 
of King John. This, in the time of the 44 father 
of English poetry,” was a favourite covering for 
the head among those of gentle degree ; a circum- 
stance of which the artist has availed himself with 
infinite advantage to his picture, by placing it 
. on the heads of the knight, the squire, and of 
the poet himself. The squire is also a striking 
| figure in the composition ; he has dropped on one 
| knee to receive his morning draught at the hands 
of the 44 fair young tapstress.” 

There is, in what we already see of this admi- 
rable work, an extraordinary display of character, 
strikingly apposite to the vocations of the assem- 
bled pilgrims ; and we doubt not that it will asso- 
ciate the name of the artist with those of eminent 
painters of our sc hool. 

Views in Oxford. Drawn and Lithographed 
by W. A. Dblamotte. 

These views are 4 The High Street 4 The Broad 
Walk, Christ Church 4 St. John’s College 
j 4 The Garden Front of the same College.’ Ox- 
ford has often been the subject of the pencil, upon 
1 which occasions the High Street has never been 
I forgotten ; we, however, find it as faithfully repre- 
sented in the view before us, as in any we have 
! ever before seen. In both views of St. John’s 
I College the architecture is so exactly drawn that it 
is impossible to mistake the building, having once 
I seen it. 4 The Broad Walk’ is well represented ; 
the effect of distance being easily and naturally 
obtained without interfering with the breadth of 
the masses of foliage of the foreground trees. 

I Trial of Earl Strafford. Painted by Wil- 
liam Fisk. Engraving by James Scott. 

' Publishing by ThOmas Boys, Golden-square. 

| Pew things in Art are more difficult than to give 
pictorial interest and effect to a composition 

! which is of necessity hedged in by formalities ; the 
| artist, however, as far as may be judged from the 
etching, has dealt successfully with the disadvan- 
tages incident to even rows of heads and the 44 de- 
gree of place.” This famous trial began in West- 
minster Hall, on the 22nd of March, 1641, and 
continued eighteen days. In this plate there are 
upwards of fifty figures and heads. Lord Strafford 
stands upon a small raised platform pointing to his 
daughters by his side, and may be supposed to be 
giving utterance to the memorable words which 
occur in his defence. Tbe Earl is habited in black, 
and being considerably elevated above those around 
him, stands forward, the principal figure of the 
assembly — the position of the figure is eloquent, 
and it is at once seen, that he is pleading for his 
children. The plate is large, and is in course of 
engraving in mezzotinto. 


THE ADDRESS OF THE PRESIDENT OP 
THE ROYAL ACADEMY. 

The annual address, on the occasion of the dis- 
tribution of the gold medals, was delivered by the 
President of the Royal Academy, before the 
General Assembly on the 10th December last. 
In opening his discourse, the President takes 
occasion to comment upon the bootless theories 
of empiricism in Art, and their influence upon the 
practical artist. Since the revival of Art in Italy, 
until a comparatively recent period, but few artists 
by the publication of opinion and precept, have 
aided in maintaining that taste which their works 
have generated. Of these few Leonardo da Vinci, 
Vasan, De Piles, and Du Fresnoy are the most 
conspicuous. Generally speaking, therefore, the 
history of Art and its principles, has been left in 
the hands of men unqualified by education for the 
task they undertook. In modern times, however, 
and among ourselves, Reynolds, Barry, Opie, 
Fuseli, Flaxman, and Soane, have in their respec- 
tive departments laboured in the establishment of 
canons of taste. The opinions of the accomplished 
President of the Academy of the progress and 
position of the British School of Art, must be 
deeply interesting to every native artist ; we there- 
fore, on this subject, quote his own words : 

" If we take a candid review of the progress and pre- 
sent state of Art amongst us, I think it must be ad- 
mitted that the discipline has not discredited the doc- 
trine of the British School. The general practice is 
founded on just principles ; and although unfavourable 
circumstances have never allowed free scope for their 
effective development, those principles have been pre- 
served in the contracted sphere to which they have 
been confined, without corruption or perversion. In 
our admiration of Art, as displayed in the purest ex- 
amples of abstract and ideal perfection, we have never 
lost sight of the homage due to Nature : nor have we so 
far degraded our devotion, as to disregard those duties 
of discrimination and selection which every rational 
view of her worship essentially demands.” 

On the subject of the originality of the British 
School, Sir Martin Archer Shee spoke analytically 
of Hogarth and his works, and to Wilkie the 
remainder of the address was devoted, wherein 
his most celebrated pictures were passed in re- 
view, and most appositely remarked upon. The 
following passage occurs in the sketch of the rise 
and progress of the latter: — 

“ His eye was as accurate and scrutinizing as his 
intellect was prone to inquire and investigate. He was 
no loose observer, satisfied with cursory glances on the 
snrface of things. What he looked at he sate; and 
what he saw he remembered. When his ambition to 
enter on a wider sphere of exertion led him to the me- 
tropolis, I have understood that he first sought em- 
ployment as a painter of small portraits, for which his 
powers of imitation and great delicacy of execution ap- 
peared to be peculiarly qualified. Fortunately, how- 
ever, for his subsequent celebrity, he did not meet 
with the success he deserved in this line. I have heard 
him say, with the unaffected simplicity which distin- 
uished him, that he never could give satisfaction to 
is sitters. Yet there are specimens of his hand, exe- 
cuted at that time, which claim high commendation: 
and most of us remember the admirable small portrait 
of his Royal Highness the late Duke of York reading 
his despatches, which, at a subsequent period, he 
exhibited at Somerset House, and in which he proved 
his superior pretensions to public favour in this de- 
partment.” 

Still speaking of Wilkie, this eloquent discourse 
terminates in tnese words 
M But the efforts which could not repress his spirit, 
exhausted his strength. His physical powers were in- 
adequate to sustain liis mental excitement. Of this it 
would appear that he was himself aware, by the desire 
he expressed to hasten his journey home. Satisfied 
with the acquisitions he had made — his mind stored 
with novel images of social life— his collection of stu- 
dies enriched with ail the varieties of character, cos- 
tume, and clime, which the habits and manners of 
eastern communities display in such picturesque abun- 
dance to a painter’s eye, this great artist now set for- 
ward on his return to the land in which were centred 
all his hopes— the land to which be looked for the re- 
ward of all his toils— where he trusted, by the novel 
treatment of sacred subjects, that he might be tbe 
means of giving a new impulse, and attracting new 
interest, to pursuits that have long languished in the 
4 cold obstruction’ of public apathy ana national neg- 
lect. But he was not destined to realize these visions. 
A sudden and apparently unexpected exhaustion of tbe 
powers of life terminated in the calamitous event which 
deprived society of one of its most distinguished mem- 
bers, and frustrated the excited hopes or his Art and 
his country.” 


VARIETIES. 

The British Institution will open on the 
7th (we believe) : four prizes are to be again given ; 
and we may take for granted that the artists 
have been stimulated by the 44 hope of reward” 
that 44 sweetens labour.” Unhappily, however, 
the intention of the Directors to repeat the benefit 
conferred last year, was not clearly understood 
until very lately. 

Artists’ and Amateurs’ Conversazione. 
— On the evening of the 5th ult. there was at this 
conversazione, held as usual at the Freemasons' 
Tavern, a more numerous assemblage of members 
and visitors than had ever met upon any previous 
occasion. From the number and high respecta- 
bility of the r£union t it is evident that the Society 
is progressing in a manner as soon to render its be- 
nefits apparent. The works exhibited were vari- 
ous, considerable in number, and high in merit. 
With respect particularly to oil painting, we 
might suggest that they should in future be ac- 
companied by their titles, as it would doubtless 
be more gratifying to the authors of them to hear 
them spoken of by the names they have given 
them. Among the works of this class we recog- 
nised a picture by Herbert, A.R.A., 4 The Boar 
Hunters' (if we remember rightly) ; also a work 
by Hart, A.R.A., the subject from Shakspeare, 
and treated with a moonlight effect. We ob- 
served also 4 A Spanish Ruin,' by David Ro- 
berts, R.A., painted with his accustomed trans- 
parent shadows and brilliant lights. By O’Neil 
we remarked an admirably executed female figure, 
apparently in the act of prayer, and so entirely 
unaffected in style and intense in expression, as 
to embody that tomething we so often miss in 
works of higher pretensions. By Bradley, of 
Manchester, there were two portraits of Children 
successfully imitating, in freedom of handling, the 
manner of Sir Joshua ; by Ward, R.A., 4 The De- 
von Ox and by T. Boys, 4 Fort Rouge,’ painted 
with much power of effect. The Exhibition was 
rich in drawings : a pencil portrait of Lady Ha- 
milton, by Sir Thomas Lawrence, and contri- 
buted by Messrs. Graves, is one of the most mas- 
terly productions we have ever seen. There were 
some charmingly coloured views by Prout, pen- 
cilled and treated with the usual force and effect 
of his manner. 4 The Landing of Queen Henri- 
etta,’ Cattermole, a drawing of remarkable beauty ; 
Muller’s original drawings made for his work, 
the 4 Remains of the Age of Francis the First ;’ and 
a portfolio of drawings by Pyne, principally Welsh 
scenery, made out with all the freshness and truth 
of nature ; also a portfolio of sketches, by various 
artists, contributed by Messrs. Fuller. 

Institute of British Architects. — The 
interest felt by Earl de Grey in the prosperity of 
this Society, of which ,he still remains the Presi- 
dent, did not cease with his lordship's vice-regal 
appointment in Ireland. On the very day that he 
kissed hands at Windsor previous to his depar- 
ture, he induced his Royal Highuess Prince 
Albert to become a Patron of the Institute. The 
question of the junction of the Institute and the 
Architectural Society, has again been mooted, 
and, after a lengthened discussion during three 
evenings, may, we hope, be considered settled. 
United, they may do much more for the advan- 
tage of their profession than they could singly. 
The expense of one establishment will be saved, 
and much perplexity avoided. The second part 
of the Institute’s Transactions is now at press, and 
will shortly be published. 

The Amateur Artists* Society held their 
first meeting for their present session on the 12th 
of January, when many pictures were exhibited, 
displaying considerable promise. A paper was 
read by the President, Mr. Antrobus, with espe- 
cial reference to the question of 44 frescoes or no 
frescoes,” which now excites much interest in the 
artistical world. The opinion of the writer was 
decidedly adverse to their use in England. The 
claims of Cornelius, as a first-rate artist, were 
loudly denied. 

The King of the French has presented Mr. 
Hullmandel with a gold medal, in testimony of the 
merits of bis new invention of lithotint, the value 
of which to Art is highly estimated by the French 
as well as the English artists. 

Prince Albert.— We have much pleasure in 
recording a gratifying instance of the kindness of 


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32 


THE ART-UNION. 


[Feb. 


Prince Albert towards an English artist of emi- 
nent talent, whom he had known before his eleva- 
tion to his present exalted station. It is alike 
hononrable to the taste and feeling of his Royal 
Highness. Mr. Wyatt, the sculptor, who has 
lately returned to Rome, was staying at Windsor, 
and went to see the Castle. The Prince, hearing 
of the circumstance, sent for Mr. Wyatt, and re- 
ceived him in the most friendly manner, giving 
him a commission for a basso-relievo to adorn a 
space over one of the doors in the Castle. 

Anatomical Lectures for Artists.— We 
see announced a course of anatomical lectures, to 
be delivered by Mr. Dermott, in Charlotte-street, 
Bloomsbury, intended as a ready means to pro- 
mote, among artists, that knowledge of the human 
structure which imparts ease and confidence in 
drawing the figure. It is not necessary to attempt 
to demonstrate the utility of such a course of 
study, as we have continually heard painters, and 
especially sculptors, lament the want of facilities 
for acquiring that which is at once the alphabet 
and the finished eloquence of their art. There is 
much, it is true, to divide the attention of the 
modern artist ; but lie is invited to perfection by 
advantages incalculable, when compared with those 
enjoyed by his antecedents of two or three centu- 
ries, or even half a century, ago. The men, 
whose works are held up as models for imitation, 
acquired their knowledge under much greater dif- 
ficulties, and at a more considerable expense, 
than now attend the labours of the student. It 
is surprising that similar courses of lectures have 
not before been delivered, since such information 
as they convey is so necessary to all classes of 
artists who draw the figure ; not that, because 
anatomy is studied, figures must necessarily be 
anatomically painted, but that the innumerable 
errors into which our artists are led from igno- 
rance of it may be avoided. Pictures distin- 
uished by an obtrusive display of anatomy may 
e valuable, but they are rarely pleasing ; since so 
much of beauty is constituted of flowing lines and 
roundness undisturbed by muscular development. 

Symbols on Ancient Buildings. — Mr. 
George Godwin has laid before the Society of 
Antiquaries some observations on the fact, that the 
stones both inside and outside numerous ancient 
buildings in England, bear, in many cases, a mark 
or symbol, evidently the work of the original 
builders. His attention, it seems, was first drawn 
to the fact about three years ago ; and he saw in 
it the probable means of connecting the various 
bands of freemasons, to whom we are indebted for 
so many magnificent buildings. In Germany and 
France similar marks have more recently been 
discovered ; and Mr. Godwin, during a recent 
visit to Poictiers, in the department of Vienne, 
found a number of them identical with many 
which he had copied in England. Diagrams of 
these were exhibited, as also were examples from 
Gloucester Cathedral, Malmesbury Abbey Church. 
Bristol Cathedral, Church of St. Mary Redcliff, 
Furness Abbey, and other buildings. The signs 
are from two to six inches high, formed by a 
slightly indented line, and consist as well of known 
masonic symbols and Christian emblems as of 
apparently arbitrary forms. The veeica piscis 
occurs frequently, the cross in all varieties, the 
triangle, double triangle, trowel, square, emblems 
of eternity, &c., &c. Some of the buildings are 
literally covered with them. We hope Mr. God- 
win’s remarks will lead to a large collection being 
made in England, France, and Germany, so that 
they may be carefully compared. 

44 The Duke” and Napoleon.— It is a sin- 
gular fact, and worthy of record, as illustrating 
national character,- that although portraits of Na- 
poleon have been extensively purchased in Great 
Britain, there is no instance of a portrait of Wel- 
lington having been sold in France. This state- 
ment appears almost incredible ; but circum- 
stances having directed our inquiries to the sub- 
ject, we ascertained that the leading publishers of 
London had never received a single order from 
France for a print of the Duke, nor, to their 
knowledge, had they ever disposed of one to a 
Frenchman. We presume, however, that when 
Glasgow has been disgraced by the erection of a 
Frenchman’s statue to “ represent” the conqueror 
of the Emperor, it will be engraved for the ex- 
press supply of the French people, who will, no 
doubt, gladly place a pictured libel of the great 


British Captain, taken when the vigour of his 
days is gone, and age has been exaggerated into 
decrepitude, by the side of their Emperor in the 
prime of life. 

The New Exchange. — The first stone of this 
structure was laid on Monday, 17th January, by 
His Royal Highness the Prince Albert. Details 
of the ceremony were amply given in the daily 
newspapers. It is only necessary for us to record 
the fact ; but we shall take an early opportunity 
of publishing some remarks on the building now 
in progress. 

Ratcliff’s Patent Inkstand. — We have 
been much pleased with this invention ; and as 
we, at this moment, experience its advantages, it 
is our duty to communicate them to our readers. 
It is so contrived, that by turning a screw, suffi- 
cient ink is conveyed to the surface, while the pen 
cannot take from the sediment at the bottom ; air 
is so effectually excluded, that the ink cannot 
become mouldy ; and the nib of the pen can sus- 
tain no injury by the danger of pressure against 
the stand. It is moreover a very neat and conve- 
nient article ; and decidedly superior to any other 
inkstand with which we are acquainted. 

Pooloo Cement. — We have repeatedly tried 
this valuable auxiliary to a household, and found 
it to answer admirably. There are few families in 
which it is not occasionally required; for, ac- 
cording to the adage, 44 accidents will happen 
and it would be difficult to conceive any 4 ‘ break- 
age” — except a bone— to which this cement might 
not be advantageously applied. To artists it may 
be especially recommended as joining strongly, 
and without leaving the slightest mark, chipped 
portions of frames. 

Spilsbury’s Fixture. — The want of some 
safe and secure means of 44 fixing” water-colour 
drawings, and drawings in crayon, as well as 
other productions of the artist, has been long 
felt. The ordinary modes are dangerous and not 
effectual ; and none that wc are acquainted with 
will permit the paper to be washed. Mr. Spils- 
bury has supplied a very desirable improvement ; 
we cannot tell in what it consists, but it answers 
the purpose admirably. It is a colourless fluid to 
be laid over the drawing, carefully, with a camel’s- 
hair pencil ; and when dried it may be washed 
with water, if needful, without sustaining the. 
least injury. 

Sales of the Month. 

Sales to Come. — We direct the especial at- 
tention of our readers to the sale— advertised in 
the Art-Union— of the works of Sir David 
Wilkie, to be disposed of by public auction, by 
Messrs. Christie and Manson on some day 
(not yet fixed) of the month of April. We shall 
take an early opportunity of noticing this event at 
some length. 

Mr. Phillips announces, on the 15th of Feb- 
ruary, his intention to submit to public auction 
the gallery of William Bullock, Esq. ; and also 
another collection on February 8th. 

Sales of the Past Month. — On the 22nd ult. 
a collection of pictures, by masters principally of 
the Italian schools, were sold by Messrs. Christie 
and Manson, among which were disposed of at the 
the following prices 1 A Dutch Village, with 
Boors playing at Bowls,’ by Teniers, £137 11s. ; 

* A Grand Rocky Landscape,’ Teniers, £45 3s. ; 

4 Virgin and Child, &c.,’ Ghirlandaio, £25 4s.; 

4 Virgin and Child,' Pulego, £22 11s. 6d. ; 4 St. 
John,’ £19 19s; 4 Heads of the Twelve Caesars,’ 
O. Vennius, £25 4s. ; 4 Landscape,’ Moreland, 
£34 3s. 6d. 

On the 20th ult. a portion of the collection of 
the late A. Gilmour, Esq., of Portland-place, was 
sold by Mr. Phillips, the under-mentioned pic- 
tures realizing the accompanying prices :— 4 Land- 
scape,’ Van Stry, 50 guineas; 4 Fowls,’ Hon- 
dekocter, £21 ; 4 A Holy Family,’ Paduanino, 
£26 5s. ; 4 Interior,’ Jan Steen, £24 3s. ; 4 Land- 
scape,’ Cuyp, £21 ; 4 Landscape,’ Jordaens, 
£26 5s.; ‘Hawking Party,* Wouvermans, 
£31 10s. ; 4 Queen Sheba before Solomon,’ Eck- 
hont, £43 Is. 


REVIEWS. 

Childe Harold’s Pilgrimage. By Lord 

Byron. John Murray, Albemarle-street. 
This is one of the most extraordinary reproduc- 
tions we have ever seen ; and it must become one 
of the most popular— being Childe Harold with 
de facto illustrations from the very scenes which 
the poet has sung in his immortal verse. The 
poem appears in one volume, large and thick — 
the embellishments are vignette landscape gems, 
from drawings by Creswick, Warren, Howse, and 
Aylmer ; engraved by Finden ; and amounting in 
number to sixty-one. This unusually long series 
is concluded by a valuable addition in the shape of 
a map, whereon is traced the pilgrimage or the 
Chilae ; and even here Art is not spared ; the 
chart of his wanderings is set amid a profusion of 
beauties, minute views markedly typical of the 
lands wherein he set up, for a time, his unabiding 
tent. 

Even to those (if any such there be) who may 
not have read 44 Childe Harold” since its progres- 
sive publication, a sight of these views alone 
will give delight ; yet there is in them nothing 
more than beautiful and solid truths. The artists 
present them to us as they and as the poet saw 
them ; for they seem to have walked in his foot- 
steps, and, like him, courted the emotions of all 
periods of the sun’s dailv round from noonday 
to midnight, and from midnight to noonday again. 

The frontispiece is a portrait of the noble poet, 
after a picture by Phillips, R.A. He is repre- 
sented in a Greek dress, and fronts the spectator ; 
but the head is seen nearly in profile being turned 
towards the right shoulder. This portrait is a 
lialf-lengtb, and on a slight inspection seems ma- 
terially different from other portraits of acknow- 
ledged resemblance ; but a close examination 
proves that the same features have been the model 
of this painting. In the ordinary portraits of 
Lord Byron, there is an attempt to embody the 
fine sentiment of his poetry ; but in this he is the 
soldier full of the spirit of the line — 

" Greece ! change thy lords, thy state is still the same.” 

We have been accustomed to look upon the head 
uncovered ; it may have been the pleasure of the 
poet to wear the turban in which he has been paint- 
ed ; but so much of the character lay in the forehead, 
that we cannot deem the turban a compensation 
for its loss. 

Nothing in this style of Art can excel the gene- 
ral tone and execution of the illustrations before us. 
As every thing is, at present, brought forward 
with engravings, we have long expected an illus- 
trated edition of 44 Childe Harold.” And now 
that it has appeared, we are happy in the opportu- 
nity of contributing our measure to the abundant 
praise which these embellishments must elicit. 
They are selected with the very best taste ; which 
circumstance, together with their admirable feeling 
in effect, and masterly adaptation of manner in 
execution, leave nothing to be desired. 

Among the first engravings in the volume, are 
Delphi and Cintra, both m themselves superb 
views, but rendered here doubly exquisite by their 
manner of treatment; then follow Mafra, Tala- 
vera, and Saragoza, also a view in Seville of a 
character powerfully Spanish. 

“ But Cadiz, rising on the distant coast, 

Calls forth a sweeter, though ignoble praise.” 

The minute view of Cadiz from the sea reminds 
us of similar Italian subjects by Turner, when his 
pencil by the sweetness of the scene is charmed 
into just enough of detail. Then follow views in 
Greece, among which we find, Ithaca, Yanina, 
Zitza, &c. &c. The views in the third canto 
bring us nearer home — it opens with the mustering 
of the British troops at Brussels. We have seen 
and heard enough of late of the Rhine, but the 
views before us of the Drachenfels and Ehren- 
breitstein are fresh and lovely. The fourth canto 
affords the Italian views, among which are seve- 
ral in Venice, Florence, Rome, & c. &c. 

In the series are several portraits, but they are 
introduced by no means in the ordiuary stiff style 
of portraiture. There is an inimitable grace in 
the abandon with which they are thrown in, 
being engraved in frames which are represented 
resting on the floor surrounded by circumstances 
relating to the stories of the individuals depicted 


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THE ART-UNION. 


33 


I —they are of Ada, Rousseau, and Tasso. The brows 

I of the last are bound with the mockery of laurel. 

They gave him laurels who denied him bread.” 

! The adoption of any other method of illustrating 
; “ Childe Harold 1 ' must have been a failure, since 

nothing else bat the actual scenes described could 
have been a fitting accompaniment to the poem. 
The artists who have been employed in this work, 
place us in the position of the puzzled critic in the 
French farce — with him we say, 44 Ces gens-la 
font qu’il faille les louer toujours.” 

London As It Is. Drawn and Lithographed by 
Thomas Shotter Boys. Published by Thos. 
Boys, Golden -square. 

Under this title has appeared a series of views re- 
presenting some of the principal streets, thorough- 
fares, public buildings, &c. &c., in London. The 
plates are 26 in number, and correspond in size 
with the views in Paris, Ghent, &c. &c., by the 
same artist— that is to say, they are folio, and 
have admitted of the working out, to a certain 
extent, of that recognisable detail which aids the 
identity of locality. During a quarter of a cen- 
tury, the street sceneiy chiefly painted by our 
artists, recommended itself on account of some 
“ picturesque” feature; and when this was want- 
ing, it was supplied by means of a little ragged 
mannerism. At home we have but little to meet 
this taste, which has been fostered principally by 
matter from the Continent— the North supplying 
what we may term the Dutch-school subjects of 
this class of Art, and the South material of a more 
refined character. Works like that under notice 
were not thought of; continuous straight lines 
and plain facades were uninteresting, and ex- 
tremely difficult of treatment : hence that with 
which the artist has here had to contend is, first, 
the substantial difficulties of his subjects, and 
afterwards the caprice of conventional taste. Of 
the former he disposes in a masterly style ; and, 
assuredly, his work will deal successfully with the 
latter. The views are lithographed with a sepia 
tint, and the highest lights brought out with white. 

The two worlds of which London is composed 
are here most ably illustrated in their leading 
features. Of course some of the river views are 
among the most striking on the side of the City ; 
and of the street scenes in the same district, 4 St. 
Paul's from Ludgate-hill,’ is one of the most re- 
markable. As to its effect and general manage- 
ment, this view is admirably drawn; the hard 
angles of the architecture are softened down with- 
out affecting the truth of the architecture, and 
the foreground shadows are massed and toned in 
a manner effectually to throw off the lighter dis- 
tances. In Guildhall there is nothing imposing, but 
the artist presents it to us invested with a power- 
ful interest ; and we like it the better that it is not 
thronged with a parade of figures. The drawing 
in this plate is free, and the shadow-tones flat 
and transparent. The 4 View of London Bridge 
from Southwark Bridge 1 is one of the most beau- 
tiful of the series, and such as Canaletti would 
have delighted to paint : due breadth and import- 
ance is given to the river, above which the spec- 
tator is placed, looking down on the decks of the 
passing craft. In the distance, 44 below bridge,” 
is seen the Tower and a haze of masts. We have 
also a view from the same point, looking up the 
river — 4 Blackfriars from Southwark Bridge,’ with 
St. Paul’s rising above the houses on the City 
side; Blackfriars-bridge bounding the distance. 

; Another charming river view is 4 Westminster 
from Waterloo Bridge,’ of which the Abbey is 
one of the principal objects. In 4 The Tower and 
Mint’ the view is from Tower -hill, and the 
armoury destroyed by the late conflagration is 
m striking feature of the picture. The plate, 
• St. Dunstan’s, See. Fleet-street,’ is somewhat 
| 44 spotty,” from the number of scattered lights 

I by which the eye is distracted. Something is at 
i times necessary to unite the lights of a com- 
] position, but we think it might have been more 
! judiciously done than by upturned paving-stones, 
j turners' tools, and unsightly waggons. 4 The 
Strand* affords a view of the churches of St. 
i Clement, St. Mary, and St. Dunstan in the 

| distance ; but we think that the nearest church, 

, St. Clement’s, suffers in effect from the im- 

. portance given to the foreground buildings. 

4 Temple Bar from the Strand,’ gives a perfect 
I idea of the confusion of that thoroughfare— the 

interest settles in the foreground, which is 


thronged with pedestrians and vehicles of many 
descriptions. The 4 Entry to the Strand from 
Charing Cross’ comprehends Northumberland 
House, St. Martin’s church, See., Sec. Among 
the views of West-end of town, 4 Buckingham 
Palace from St. James’s Park,* is one of the most 
striking. It is a landscape, with the distance 
closed by the Palace, which maintains its posi- 
tion well in the picture, from the skilful manner 
in which it has been put in. 4 Regent-street 
looking towards the Quadrant,* is a beautiful 
specimen as a street view. Others are entitled — 
4 St. James’s Palace from Cleveland Row,’ 4 Re- 
gent-street looking towards the Duke of York’s 
Column,’ 4 The Club Houses, &c., Pall Mall,’ 
4 The Bank,* 4 Piccadilly looking towards the 
City,’ 4 The Custom House,’ Sec., Sc c. 

The impressions before us, as we have said, are 
tinted with sepia, but there are also others coloured 
by hand. This is the most important and meri- 
torious work that has ever yet appeared as a seriss 
of views in the metropolis of Great Britain, and 
it is in execution certainly worthy of the subject. 
The style of work is bold and original, and sketches 
which m ordinary hands must have been tame and 
insipid, have become in those of Mr. Boys, pic- 
tures of much excellence. Nothing have we seen 
better adapted to this style of Art than the li- 
thography in which these drawings have been 
executed. 


Anatomy for the use of Artists. By R. 

L. Bean, late house-surgeon, at King’s-col- 

lege and Charing-cross Hospitals. London, H. 

Renshaw, 1841. 

The importance of a knowledge of anatomy in the 
education of an artist is universally admitted. All 
feel its necessity, and see fully the want of power 
in design, and other disadvantages which result 
from neglect in this respect ; and yet, whether it 
be from the difficulties which encompass the study, 
the limited opportunity which exists amongst us 
of drawing from the human figure, or whatever 
cause it may be, certain it is that in this respect 
more than any other, the English school t is 
greatly deficient. 

The little work before us, which aims at ren- 
dering more easy the acquirement of sufficient 
anatomical knowledge, promises to be exceedingly 
useful, and is entitled to the thankful patronage of 
those for whom it is designed. It contains ten 
plates clearly drawn, showing all the various mus- 
cles and bones in the human frame, the names of 
which are referred to in accompanying tables. 
The uses and effects of the muscles are also de- 
scribed briefly. The greater number of anatomi- 
cal works published suppose the pre-attainment 
of a larger amount of knowledge of the names and 
terms employed than artists usually have, and 
moreover are so expensive as to be out of the 
reach of many students. The book before us, on 
the contrary, is perfectly elementary and simple, 
and so cheap as to be attainable by all who require 
it. We gladly hail its appearance. 


TO OUR SUBSCRIBERS. 

We have a communication of some importance to 
make to our subscribers. For a long time, we have 
felt much embarrassment in consequence of the li- 
mited space to which we have been restricted ; and 
we have at length, and after due deliberation, re- 
solved upon a considerable enlargement of “the Art- 
Union,” so that we may be enabled, without diminish- 
ing the necessary quantity of Intelligence concerning 
the Arts, to introduce articles on subjects that demand 
to be treated without restraint as to the number of 
columns to be occupied. 

Under our new arrangements, therefore, we propose 
to combine the advantages of a Magazine with those 
of a Newspaper. 

The suggestion has been frequently made to us from 
persons interested in our welfare in various parts of 
the kingdom ; some proposing the enlargement we are 
about to adopt, others that our work shall be published 
twice instead of once in the month ; to the latter we 
see many objections, to the former none; for we feel 
assured that no artist, or lover of the Arts, will hesitate 
to pay the small additional tax that will be levied 
upon him to to meet our increased expenditure. 

The Art-Union will, therefore, in future contain 
twen ty-four instead of sixteen pages ; and be charged 
one shilling instead of eight-pence . 


Various circumstances have, lately, combined to 
give a new stimulus to British Art, and to render in- 
formation concerning it a public want. We hope 
we may claim some merit for having assisted in the 
attainment of so desirable and so important a result — 
one which, a very few years ago, it would have seemed 
visionary to have anticipated. The supply must be 
made equivalent to the demand. 

Hitherto, we have been entirely precluded from the 
treatment of any subject requiring so much space as 
essentially to abridge the monthly supply of 4 ‘ news ;” 
hereafter, we shall experience no such difficulty— we 
shall be enabled to communicate information con- 
cerning any matter on a scale commensurate with its 
importance; to review, adequately, all works con- 
nected with the Arts, published either abroad or at 
home— not by a mere reference to their contents, but 
by a just and instructive condensation ; and by the 
frequent introduction of such engravings as may be 
serviceable in illustrating the text. In short, our 
purpose is to render the Art-Union a sufficiently full 
record of all that transpires, interesting or valuable to 
the artist and the amateur. 

Our subscribers may be assured that the entire of 
the extra sum we shall thus receive from them shall be 
expended for their benefit ; this pledge they will very 
soon be enabled to test by experience. We shall be 
well satisfied to be judged by the results. 


With the next number— i. e. the number to be pub- 
lished on the first of March— we shall present to our 
subscribers an extra half sheet (besides the eight pages 
to be added to its contents), containing between forty 
and fifty specimens of wood-engraving, selected from 
the most popular illustrated works now in course of pub- 
lication. We have selected them from Mr. Jackson’s 
44 History of Wood-engraving;” Lockhart’s 44 Span- 
ish Ballads;” Mr. and Mrs. S. C. Hall’s * 4 Ireland ;” 
Knight's 44 Shakspere ;” Tyas’s 44 Shakspere,” 44 Eng- 
land in the; Nineteenth Century,” 44 Master Hum- 
phrey’s Clock;” Tilt’s editions of “Cowper” and 
44 Thompson,” &c. 

They are printed on a separate sheet— on fine paper 
—by Mr. Wright, of Fleet-street; and in order that no 
difficulty may arise to prevent its transmission with the 
number by post, each sheet is stamped. 

As we shall print but a limited edition, we suggest 
to our subscribers the necessity of obtaining their copies 
early; and on no account to allow a day to pass, after 
the usual day of delivery, without ascertaining that 
the agents have supplied them. 

With every copy of the Art-Union this illustrated 
sheet will be supplied— of course gratis , and it must 
rest with the purchasers to look to the proper delivery . 
The sheet will be of greater value than the cost of the 
publication, and there will be consequently some dan- 
ger of its being stopped on its way to the subscriber. 

Those who may require more than one copy will do 
well to convey an early order to the publishers. Sub- 
scribers in the country will thus have timely notice of 
our design. 

We hope to commence the publication of Mr. Pugin’s 
series of popers on 44 Modern British Architecture” in 
our next number. 

A letter on the subject of the 44 Art-Union of Lon- 
don” must remain over, as also a letter on 44 Clay for 
Modelling;” and a letter on 44 Encouragement of Art.” 

44 The Poniatowski Gems.”— We are prevented from 
noticing the collection this month as fully as it de- 
mands. 

Among the works of Art— Prints and illustrated Books 
—that have been sent to us, we are compelled to post- 
pone the insertion of Reviews, the whole of which are 
m type— of Portrait of his Grace the 44 Duke of Wel- 
lington,” engraved by Wagstaff, from Mr. Pickersgill’s 

E icture ‘.another Portrait of the Duke, from a painting 
y Mr. Briggs ; 44 The Tower,” by Mr. Hewitt (in no- 
ticing which we shall introduce two wood-cuts— one of 
weapons, another of ancient helmets) : 44 The Hawking 
Party,” by Edwin Landseer ; the third series of Nash’s 
4 ‘ Mansions of England ;” etchings of Landseer’s 44 Court 
of Law,” Grant’s 44 Equestrian Portrait of her Ma- 
jesty,” Ricauti’s 44 Rustic Architecture ;” 44 Italy, 
Historical and Picturesque,” by W. Brochedon; ‘‘Fi- 
gures from Pictures in England, by Claude Watteau 
and Carnaletto ;” by S. Bendixen ;” 44 Revue G^n^rale 
de 1 ’architecture et travaux Publiques;” “Dictionary 
of Greek and Roman Architecture ;” 44 British, French, 
and German Painting,” by David Scott, M.K.S.A; 
“Sketches of Fallow Deer ;” “the Imperial Family 
Bible;” 44 Etchings of Runic Monuments in the Isle of 
Man;” Delaroche’s 44 Napoleon,” and “ King Charles 
in the Guard Room ;” 44 Sketches in Norway,” &c. &c. 
A pretty extensive arrear, which we trust to bring up 
next month. 


Digitized by <^.ooQle 


34 


THE ART-UNION. 


[Feb. 


MILLER'S SILICA COLOURS. 

upon Ihetubject™ seeing thatTby t*he*applicatfon^ many'yearif’ !£££!£ !*7j!L n0t * ^T ’ be ^emed obtrusive, if the Manufacturer presumes to offer a few remark, 
in bringing back to light a long Lried secret of ancient An “1*™““. "ded by numberless experiments, he has, at length, most successfuUy accomplished his object, 



modern Art. 3 uuuetmyiny orimancy ana clearness to ueriae alike, the attacks of time and tbe feeble competition 

thl? wme pri“c?5“«' the'^loum ofTbe Old Masters andlheSm™ El".' < J ay ’ 1 are vcry c,ear,y eviduncc ‘ 1 X' 1110 c ® nt . ras ‘ of Ultramarine, which being manufactured 
.ever, is not the fact. The phenomenon of iu «££5ithr h i as „ been erroneously supposed to have derived an accession of brilliancy from age. Such, 
the picture has invariably dec ined and faded one ^rielJ ’ 8 tbe r $ au ", of “ 9 6 . ,mp >’ reta "»»ff «*» original lustre, whilst that of the other colours of 

pictires of Francis, recently added to the collecUon “?h° ST r, 0 n„™ ! “S"" ""eient colour, every doubt might be easily removed by a glance at the two 
couccuon in National Gallery, and painted between three and four hundred years ago. The transparency and freshness of 


on 
however. 



l compose them himself, from whatsoever 
; chemical agency, may be inferred the great 

persons oF r ^entiAc"att2nment, "irtiOM "judgment D taa'b^m *unemi?v«r?iw’, public T nio ,V’ lla l e already , bee ? “ yerel /. teated by Artists of tbe first eminence, and by 
ancient colouring; and that they possessan" “nvaluabte fav ° u V al ! d ,Y° d .° n , ot hesitate to affirm Ihatthey reveal the mystery of 

ancient painters! ^ 11 the invaiuaDle qualities of transparency, brilliancy, and durability, which are so eminently conspicuous in the works of the 


The Silica Colours are prepared in collapsible tubes, 
and can be forwarded per post to any part of the coun- 
try, on receipt of an order, for any of the under-men- 
tioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. 

Pale and Deep Yellow. 

Pale and Deep Orange. 

Pale and Deep Purple. 

Pale and Deep Green. 

Pale and Deep Brown. 

White and Half Tint. 

Gray and Black. 

VAN EYCK’S GLASS MEDIUM for OIL PAINTING. 

This Medium having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Modern School ; 
namely, the destructive effects of Varnishes, Oils, and 
M’guelps, aa all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured ; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glass Medium in Bottles . 

No. 1. For first and second painting, and for mixing 
with colours already prepared in Medium. 

No. a. For general painting, and for rubbing up pow- 
der colours with. 

No. 3. For third painting, finishing, and glazing, 
or mixing with lakes and other colours, requiring 
strong driers, giving at the same time additional trans- 
parency. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s pure Floren- 
tine Oil. 

Glass Medium in Powder. 

Nos. 1, 2, and 3. 

If these powders be mixed stiff upon the palette with 
a small portion of Miller’s pure Poppy Oil, it will 
enable the Artist to lay colour, pile upon pile, and to dip 
bis pencil in water or oil at pleasure. It will also dry 
so hard that it may be scraped with a knife on the fol- 
lowing day. 

Artists are recommend to replenish their Colour 
Boxes with Colours prepared in Medium, as they will 
be found better in every respect than those prepared 
in the ordinary oils. 

It is also requisite to remark, that while Artists 
continue to use colours as commonly prepared in oils, 
they only reap half the advantage resulting from the 
great improvement in the art— which the Media are 
acknowledged to be by upwardsof one thousand Artists 
who have already triedand approved them. 


T. MILLER, being the original preparer of this In- 
valuable Medium, has the honour of supplying 
Sir Martin Archer Shbr, President of the 
Royal Academy, 


Sir A. W. Calcott, R.A. 

C. L. Eastlake, Esq., R.A. 
W. Etty, Esq., R.A. 

D. Mac use, Esq., R.A, 

W. Mulready, Eso., R.A. 
T. Phillips, Esq., R.A. 
H.W.Pickersgill,Esq.R.A. 

D. Roberts, Esq., R.A. 

J. M. W. Turner, Esq.R.A. 
C. R. Leslie, Esq.TR-A. 

H. P. Briggs, Esq., K.A. 
W. Collins, Esq., R.A. 

W. C. Ross, Esq., R.A. 

E. Landseer, Esq., R.A. 

C. Jones, Esq., R.A. 

A. Cooper, Esq., R.A. 

S. Drummond, Esq., A. R.A. 
J. P. Knight, Esq., AR.A. 
C. Landseer, Esq., A.R.A. 
R. Redgrave, Esq., A.R.A. 

T. Webster, Esq., A.R.A. 
W. Allen, Esq. 

C. Baxter, Esq. 

R. Beechey, Esq. 

W. Boxall, Esq/ 

W. Bradley, Esq. 

J. Byrne, Esq. 

G. Catterraoie, Esq. 

J. Cole, Esq. 

C. A. Constant, Esq. 

G. Crockford, Esq. 

W. Derby, Esq. 

T. Ellerby, Esq. 

G. Field, Esq. 

W. Fisher, Esq. 

W. Fisk, Esq. 

W. H. Freeman, Esq. 

J. Gilbert, Esq. 

A. Vickers, Esq. 

A. Tidy, Esq. 

H. Room, Esq. 

F. D. Broadhead, Esq. 

H. Strong, Esq. 

L. Muskinson, Esq. 

J. Lord, Esq. 

H. Meyer, Esq. 

J. Coventry, Esq., M.P. 
Delaroche, Esq. 

Horace Vernet, Esq. 

J. W. Child, Esq. 


J. Hall, Esq. 

C. Hancock, Esq. 

R. G. Hammer to n, Esq. 
W. Haven, Esq. 

T. C. Holland, Esq. 
James Holmes, Esq. 

F. Y. Hurlstone, Esq. 

J. D. King, Esq. 

S. Lawrence, Esq. 

W. L. Leitch, Esq. 

T. Lewis, Esq. 

J. Lucas, Esq. 

J. Martin, Esq. 

R. M'Innes, Esq. 

H. Moseley, Esq. 

J. Muller, Esq. 

Sir W. Newton. 

R. P. Noble, Esq. 

R. Noble, Esq. 

J. T. Parris, Esq. 

W. Richardson, Esq. 

J. Stark, Esq. 

Miles Smith, Esq. 

E. B. Spalding, Esq. 

F. Stone, Esq. 

C. Stonehouse, Esq. 

Weld Taylor, Esq. 
Charles Taylor, Esq. 

F. Thrupp, Esq. 

R. J. Walker, Esq. 

O. Wallis, Esq. 

G. R. Ward, ESQ. 

W. H. Watkins, Esq. 

T. Mogford, Esq. 

R» Heudrie. Esq. 

J. Wilson, Esq. 

F. S. Cary, Esq. 

C. F. Williams, Esq. 

F. R. Say, Esq. 

W. K. Collett, Esq.. M.P. 
W. Dyce, Baq. 

M. E. Cotman, Baq. 

W. R. B. Shaw, Esq. 

R. K. Pen son, Esq. 

C. L. lteet, Esq. 

H. Gritten, Esq. 

M. Claxton, Esq. 

B. R. Faulkner, Esq. 

W. E. Winter, Esq. 

G. S. Fitch, Esq. 


And many other Artists of Eminence. 

T. MILLER gladly embraces this opportunity 
of publicly expressing his grateful acknowledge- 
ments to his numerous Patrons and Friends, both 
in this country and on the continent : and particu- 
larly those gentlemen, who, unsolicited, have so 
kindly forwarded to him letters testimonial of 
their entire approbation of the Glass Medium. 
Nor must he omit to mention (which he does from 
a sense of gratitude, rather than from a feeling of 
vanity), the presentation of a Silver Cup, by an 
artist of eminence, for his invention of the Silica 
Colours; — and Artists and the Public may be 
assured, that, with such a flattering stimulus to 
exertion, as the sufferages of gentlemen of first 
rate talent, he is not likely to relax in those 
efforts, whereby he first obtained their notice and 
approbation. 


To Water-Colour and Miniature Painters . 

MILLER’S GLASS MEDIUM. 

, well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, for 
enabling the Artist to repeat his touches without dis- 
turbing the colours already laid on, haa been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints unin- 
jured j m durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Glass Medium in Bottles. 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

Also the NEW SILICA COLOURS, prepared in 
Cakes, which possess many and great advantages over 
the Cake and Moist Water Colours, at present in use. 

Japanned Tin Water Sketch Boxes, with Bottle, 
Cups, &c., complete. 

T. M. has great pleasure to inform Artists that he 
has on sale all the Colours made by G. Field, Esq., au- 
thor of “ Chromatography,” &c. Ac. m 9 

He has also all the remaining stock of Ultrama- 
rines, manufactured by the celebrated Italian maker, 
the late G. Arzone. 

MILLER’S PREPARED LEAD PENCILS 

FOR DRAWING, &C. 

Of different degrees of hardness, without grit. 

DRAWING AND CRAYON PAPERS. 
CLARE’S PREPARED BLACK LEAD IN CAKES. 

This beautiful preparation of Black Lead is a substi- 
tute for tbe Lead Pencil, over which it possesses many 
advantages ; among these, are the depth and clearness 
it imparts to the shadows of the drawing, and the soft- 
ness and delicacy with which the lighter parta may be 
handled. As it is used (like a water colour) with the 
Camels’ Hair Pencil, it admits of great rapidity of exe- 
cution and boldness of effect, as a large surface may be 
speedily covered, and intense and delicate tints pro- 
duced with equal facility ; and without any of the 
porousness which is so apparent in the Lead Pencil, or 
the least risk from rubbing or exposure. 

BRUSHES AND PENCILS OF ALL KINDS. 

MILLER’S NEW PALETTE 

Is held in the same manner as the one in general 
use, but the thumb-hole is dispensed with, thereby ob- 
viating tbe annoyance resulting from oil and colour 
running through upon the hand, and will doubtless en- 
tirely supersede the present one. 

SILICA GROUND CANVASS. This Canvass, 
not being prepared in the usual method with common 
oils, causes all colours used on it to dry from tbe bot- 
tomland not from the surface, as is now the case, 
thereby, in the painter’s phrase, giving a light within. 

May be had of all sizes, on frames and in rolls. 

SILICA VARNISH. This varnish, not being made 
of soft gums, like the ordinary varnish, when once dry 
cannot be removed from the painting; neither is it 
acted on by the atmosphere, which frequently occasions 
the effect of a thick bloom, similar to that of a plum, 
thereby entirely destroying the effect of tbe picture! 
Ail these evils are completely obviated by the use of 
tbe Silica Varnish. 

Mahogany Oil and Powder Colour Boxes. 

Japanned Tin Oil Colour Sketch Boxes. 

Glass 0Ur8 prepared in 8IDaU boxes, for painting on 

MILLER’S PREPARATION FOR CLEANING AND 
RESTORING OIL PAINTINGS, 

In small boxes complete, with directions fbr use. 
MILLER’S Artists’ Colour Manufactory, 

66, Long Acre, London. 


Digitized by ^.ooole 


1842 .] 


THE ART-UNION. 


35 


COLLIER’S SHAKESPEARE. 

ON THE FIRST OF FEBRUARY 

WILL BE ISSUED A VOLUME, TO BE CONTINUED EVBBY OTHER MONTH, OF 

A NEW EDITION OF SHAKESPEARE’S PLAYS AND POEMS, 

Collated with the Original Editions, and comprising Notes, Biography, and a History of the Origin and Progress of Dramatic 

Performances in England, 

By J. PAYNE COLLIER, Esq., F.S.A., 

Author of “ Th^History of English Dramatic Poetry and the Stage/’ &c., &c. 

IN EIGHT HANDSOME DEMY OCTAVO VOLUMES. 

Price I2s. per Volume, being £4 16s. for the Complete Work, including the Biography, History, &c. 

The issue will commence with the Second Volume, as the first will contain the Biography , History of the Drama, 8(c. 


The want of a Library Edition of Shakespeare's Works, comprising the latest discoveries and elucidations made by celebrated Antiquaries and Com- 
mentators, has induced the Publishers to avail themselves of Mr. Collier’s knowledge, ability, and zeal on this subject, in order to present the Public with 
as perfect an edition, more especially as regards the text of the Plays and Poems, as can be given, and in such a form and size as shall render it at once 
available to the scholar and the general reader. 

The Publishers would feel particularly obliged by Purchasers notifying, at their earliest convenience, to their respective booksellers , their intention to 
take the work. 

To prove the necessity of such an undertaking, Messrs. Whittaker and Co. have requested Mr. Collier to draw up a Pamphlet on the subject, in which 
will be found much curious and new information relating to the Plays and Poems. A Second Edition of this work is just issued, under the following title 

REASONS FOR A NEW EDITION OF SHAKESPEARE’S WORKS, 

Containing notices of the defects of former impressions, and pointing out the lately acquired means of illustrating the Plays, Poems, 

and Biography of the Poet. 

By J. Payne Collier, Esq., F.S.A., 

Author of u The History of English Dramatic Poetry and the Stage," &c., Ac. 

Second Edition, with Additions. Demy Octavo. In a Wrapper. Price Is. 

“ Mr. Collier makes out his case well, and from the cogency of his “ Reasons,' 1 must Ailly convince the Public, that in spite of the labours of Malone, &c., there is still 
room for doing much with the works of the immortal Poet, which the negligence of former editors, and their inadequate means, have left undone."— Times. 

“ No person who is acquainted with Mr. Collier’s past contributions to the history of our dramatic literature can doubt his competency. To him it is a labour of love 
to illustrate the masters of the Elizabethan period; although the modesty with which he executes such services is as remarkable as the ability and the judgment which his 
performances display ."— Monthly Review. 

%* See Prospectuses at the end of the Magazines and Reviews. 

WHITTAKER AND CO., AVE-MARLA LANE. 


T O ARTISTS, Ac. — An Elegant PAINTING- 
ROOM, with a well lighted EXHIBITION- 
ROOM, TO BE LET, in PARK-VILLAGE WEST, 
REGENT'S PARK. Inquire at No. 12 in the Village, 
next door to the above-mentioned building. 


SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ LEAN, 78, Fleet-street 
(opposite Thh Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be baa gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 


PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH. MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
betowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and bis predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown. Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOL?ORN, London. 

N.B.— The Trade are respectfolly cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 


A SELECT COLLECTION OF PICTURES. 

M R. PHILLIPS will SELL by AUCTION, 
at his GREAT ROOMS, NEW BOND-STREET, 
on TUESDAY, February 8, at One precisely, without 
reserve, by order of the Executors, a 8 EL EC L COL- 
LECTION of ANCIENT PICTURES, formed from the 
several Schools of Art, and uniting many excellent ex- 
amples; amongst those may be noticed, a * Sea Piece,' 
by W. V. Velde; a * View in Venice/ Canaletti ; two 
' Games Pieces/ by Fyt and Snyders ; an ‘ Exterior,' 
by Jan Steen; a ‘ Portrait of a Child/ Metzu; two 
‘ Views on the Arastil/ Storck ; * Landscapes.’ by Lin- 
gleback, Asselyn, Moucheron, and Wilson ; Historical 
and Classical Subjects, by N. Poussin, Rubens, and P. 
Veronese; Portraits, by Murillo, Sir J. Reynolds, 
Vandyck ; and others of equal merit, by 
Murillo Signani Mieris Canaletti 

Vandyck Guido Maas Verkolie 

P. de Cortona Amiconi Rubens Vernet 

Caracci Pan ini Storck Bredael. 

May be viewed Saturday and Monday previous to the 
Sale, and Catalogues had. 

THE COLLECTION OF ANCIENT PICTURES OF 
WILLIAM BULLOCK, ESQ. 

M R. PHILLIPS begs to announce that he 
will SELL by AUCTION, at his GREAT 
ROOMS, NEW BOND-STREET, on TUESDAY, Fe- 
bruary 15, at One precisely, an interesting COL- 
LECTION of GALLERY and CABINET PICTURES, 
combining many clever examples of the early German 
School, as well as those of the best period of Spanish 
and Italian Art ; in particular may be mentioned two 
pictures, by John Van Hughtenburgh, of the famous 
1 Battle of Naseby,' in 1645, and the ‘ Siege of Dun- 
kirk,' in 1658, painted with great force and vigour; 
also two subjects by Titian and Vermeyen, the ’Siege 
of Tunis/ in 1535, by Charles V., ana the ‘Battle of 
Muhlberg/ in 1547, Doth of great interest: ‘Jupiter 
and Aotiope,’ by Corregio; a replica of the famous 
work in the Louvre, the ‘ Descent of Christianity/ by 
Schidone; ‘ Christ surrounded with Angels and Saints 
in Adoration,' by Corregio; * St. John/ by Caracci, 
from the Orleans collection ; and many others of high 
merit, by 

M. Angelo Caracci A. del Sarto Teniers 
Titian P. Veronese Schidone Van Falens 

Domenichino Guido Luini Guardi 

Murillo C. Dolce C. Maratti Watteau, &c. 
The principal part of this Collection wai purchased 
by Mr. Bullock, at St. Lewis, on the Upper Mississippi, 
and are considered to have been formerly a part of the 
collection of Charles V. of Spain. 

May be viewed two days previous to the Sale, and 
Catalogues had at Mr. Phillips’s. 


THB LATE MR. O'OONHOR’B REMAINING WORKS 

By Messrs. CHRISTIE and MANSON, at their grea 
Room, King-street, St. James’s-square, SATURDAY 
12th February, 

T HE REMAINING FINISHED PICTURES 
and SKETCHES, all of cabinet site, of that 
highly talented Painter of British scenery, Mr. O’ CON - 
NOR, decease d. 

THE WORKS OF THE LATE SIR DAVID 
WILKIE, R.A. 

M ESSRS. CHRISTIE and MANSON have 
the honour to acquaint the Nobility and Con- 
noisseurs, that in April they will SELL by AUC- 
TION (by order of the Executors), the beautiful 
WORKS of that inimitable Painter, and most dis- 
tinguished ornament of the Royal Academy, 

SIR DAVID WILKIE, DECEASED, 

This Collection comprises Oil Paintings and Sketches, 
and a large assemblage of the most exquisite Drawings 
in Water Colours, and Sketches in Pen and Black 
Lead, including tne almost invaluable Series made 
during his last tour in the East. 

Further particulars will be dnly announced. 

P ALMER’S PATENT ELECTROTINT.— 
The attention of Artists. Amateurs, and Pub- 
lishers is respectfully directed to the importance of 
this new Invention, by the use of which Artists may 
obtain from the Patentee, at a small expense, Plates 
which, by the usual mode of Copper-plate Printing, 
will transfer to Psper perfect Fac-si miles of their own 
Drawings or Paintings. A book, descriptive of the pro- 
cess, and containing full directions for Artists, is being 
prepared for the press, and will shortly be published. 

The following specimens are Just published, price 
7s. 6d. each, India Proof Impressions, 4to.:— Plate 
No. 1. ‘ Dog’s Head,' by T. Sampson: 2. ‘ Study of a 
Head,' by Wilkie, T. Sampson ; 3. ‘ Dog's Head,' by 
T. Sampson : 4. ‘ Fisherman,’ sketched from life in 
Klectrotint. by T. Sampson ; 5. * Fruit Piece,' by G. 
Lance ; 6. ‘ Fishing Party,' by Arnold ; 7. * Music Party,' 
by Arnold. 

N.B.— A liberal allowance to the Trade. 

For Licences, apply to the Patentee, E. PALMER, 
103, NEWGATE-STREET, LONDON. 

Extract from the Times , Jan. 15th, 1842 :— “The four 
prints we have seen are exceedingly beautiful ; they are 
clear and brilliant, and free from that appearance of 
soot in the shadows by which lithographic prints, &c. t 
are occasionally disfigured. The new invention is yet 
in its very infancy ; but, from what it has already de- 
veloped of its powers, it may be safely foretold that it 
is likely to obtain a speedy and lasting maturity in the 
history of the Fine Arts." 


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36 


[Feb. 1842. 


THE ART-UNION. 


WORKS IN PROGRESS, NEARLY READY FOR PUBLICATION. ^ 

Mr. Boys has the pleasure to announce the following Works for Publication during the preset season 
AN ORIGINAL WHOLE-LENGTH PORTRAIT OF 

THE RIGHT HON. SIR ROBERT PEEL, BART., 

Sfc. fyc. Sfc. 

Just Painted, taken from Life, by John W. Walton, Esq. Forming a Companion Portrait to Lucas’s celebrated Trinity House Portrait 

of The Duke of Wellington. 

This most excellent original Portrait of the great Conservative Leader, whose accession to power in the councils of our beloved Sovereign, has been 
hailed with such truly national joy, will be engraved from the original Picture, in his best and most highly finished style, 

By C. E. Wagstaffe, Esq. 

SIZE, FORTY-ONE INCHES BY THIRTY-TWO INCHES HIGH. 

11 The likeness is a good one; the attitude is characteristic of the original ; 1 speaking likeness,’ full of frankness of expression and high intellect.”— 
and the whole is spirited and full of life.” — Times. Standard. 

mi . ..... i, . .... * o- v .. j x “ Mr. Walton has certainly produced a strong likeness ; the attitude is easy 

“ This portrait is highly characteristic of Sir Robert, and conveys to and charact eristic ; and the minor points and accessories throughout well 
the spectator a just impression of the dignity and manliness of the gifted p a i n ted. A popular engraving may be executed from this performance. — 
original. The countenance is most admirably pourtrayed, and is really a Gazette . 

Price to Subscribers : First Proofs before the Letters, on India Paper, £ 5 5s Proofs with the Letters, £Z 3s Prints, £\ 11s. 6d. 

To be advanced, on the Day of Publication, to— First Proofs before the Letters, on India Paper, £6 6s Proofs with the Letters, £4 4s — Prints, £2 2s. 

LONDON AS IT I S': 

Being a Selection of Twenty-six Views in this great Metropolis, representing its principal Streets, and characteristic accessories, Public 

Buildings, in connexion with the leading Thoroughfares, Sec. Sec. 

Drawn from Nature, expressly for this work, and lithographed by Thomas Shotter Boys. 

It is singular that, until the present, no work has ever undertaken to represent, on an important scale, the characteristic features of London ; Persons 
from the Country, and Foreigners |rom all the nations of the earth, visiting this great Metropolis, have inquired and sought for in vain, such Views of 
London as should at once bring them back to the scenes they have left, which have so excited their astonishment and wonder ; nothing but small views, 
insignificant in size and incorrect in delineation, could be procured; it is not doubted, then, that the present work, which embraces truth in representation, 
combined with judgment in selection and the highest qualities of Art, upon a scale worthy of the subject, will be prized as a desideratum. 

Price : Printed with Sepia Tints, £4 4s., bound — A few Copies, coloured by band, and mounted in a Portfolio, £\0 10s ... Separate Impressions, Tinted, 4s. 

Coloured, 7s. 6d Coloured and Mounted, 10s. 

CANTERBURY PILGRIMS, 

ASSEMBLED AT THE TABARD, SOUTHWARK, 

PREVIOUS TO THEIR SETTING OUT ON THEIR PILGRIMAGE TO BECKETT’S TOMB. 

“ Uprose our host, and was our aller cock. 

And gathered us together in a flock.” — Chaucer’s 1 Canterbury Tales.’ 

The point of time chosen from the graphic description, by the father of English poetry, of this most interesting record of English history, is that 
contained in the lines above — the dawn of the morning. The scene is the celebrated Tabard, one of those ancient picturesque inns of the fourteenth 
century, some remains of which are yet existing, and which is still an inn at this day, under the corrupted name of the Talbot (in the Borough). 

In the bustling scene of their preparation for setting out, the various characters and costumes of the Pilgrims, ‘‘and eke in what array that they 
were in,” the widest scope for pictorial effect is afforded ; and the artist, Mr. Edward Corbould, has availed himself of it to the utmost. The 
Engraving will be executed by Mr. C. E. Wagstaff, in his most finished style of Mezzotinto. The size of the engraving will correspond with that 
of Landseer’s * Return from Hawking.’ 

Price to Subscribers : Proofs before Letters, on India Paper, £% 8s Proofs, £5 5s Prints, £3 3s. 

*** An etching of this splendid subject may be seen at the Publisher’s. 


TWENTY-SIX VIEWS OF THE 

COLLEGES, CHAPELS, AND GARDENS OF OXFORD. 

From Drawings made expressly for this Work, by W. A. Delamottk. 

“ O ye spires of Oxford ! domes and towers ! 

Gardens and groves ! your presence overpowers ! ” 

The above Work will correspond with Boys’s, Nash’s, and other Works, and will be executed in Lithography by Mr. W. Gauci. 

Price : Bound, Printed with Tints, £4 4s Coloured, and mounted in Portfolio, £10 10s. 

THE TRIAL OF THOMAS, EARL OF STRAFFORD, 

IN WESTMINSTER HALL, APRIL 1641. 

From the Original Picture, painted on a large scale, by William Fisk, and engraving in the most highly-finished manner, as companion to 
Hayter’s * Trial of Lord William Russell.’ This deeply interesting national subject contains between two and three hundred Figures, of which a 
considerable number are Portraits of the celebrated men who lived in that eventful period. 

Price to Subscribers : Prints, £2 2s — Lettered Proofs, £3 3s Plain Proofs, before Letters, £6 Gs First Proofs, before Letters, on India Paper (strictly 

limited to Fifty Impressions, many of which are already subscribed for), £8 8s. 


NOW PUBLISHED, 

LUCAS’S FIRST AND MOST CELEBRATED PORTRAIT OF 

HIS GRACE THE DUKE OF WELLINGTON, K.G. 

AS MASTER OF THE TRINITY HOUSE. 

Engraved by Henry Cousins, Esq. 

First Proofs, before the Letters, on India Paper, all sold Proofs, with Letters, a few left, £4 4s Prints, £2 2s. 

LONDON: THOMAS BOYS, PRINTSELLER TO THE ROYAL FAMILY, 11, GOLDEN-SQUARE, REGENT-STREET. 
London:— Printed (at the office of Palmer and Clayton, 9, Crane Court, Fleet Street), and Published by How and Parsons, 132, Fleet Street.— February 1, 1842. 

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THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 38. 


LONDON: MARCH 1, 1842. 


Price Is. 


THIS JOURNAL BEING STAMPED, CIRCULATES, POSTAGE FREE TO ALL PARTS OF THE UNITED^ KINGDOM^ 


B ritish institution, pall-mall.— 

The GALLERY for the Exhibition and Sale of the 
Works of British Artists IS OPEN daily, from Ten in 
the morning till Five in the evening. Admission Is.; 
Catalogues Is. William Barnard, Keeper. 

RTISTS’ AND AMATEURS' CONVER- 

SAZIONE.— The Members are reminded that 
the SECOND MEETING of the Season will take place 
at the FREEMASON’S TAVERN, on WEDNESDAY, 
the 2nd of March. 

A RT-UNION, ISLINGTON and NORTH 
LONDON. — Subscription to the Annual Distri- 
bution, Half a Guinea. The Lists will close on the 
15th of March. Particulars may be obtained, and 


Subscriptions paid, on application to the Secretaries 
at the office of the Society. Hatton Cottage, Halton- 
atreet, Islington ; to Mr. Winbolt, City of London In- 
stitution, 165, Aldersgate-street ; to Mr. Tucker, South- 


wark Literary Society; or to the Bankers, Messrs. 
Rogers, Olding, and Co., Clement’s-lane. 

T. W. Bentley, \ Hnn 
W. H. Butterfield, j llon ‘ Sec,< 

HE APOLLO ASSOCIATION, (or ART- 
UNION) of NEW YORK, to BRITISH ARTISTS. 
This Institution, the first and only one of the kind in 
the United States, and similar in plan to the Art- 
Union of London, <8 now in successful operation, 
haring about 4000 Members. 

A Semi-Annual Exhibition is given of the works of 
American and Foreign Artists ; and the surplus funds 
are devoted to the purchase of pictures, for distribu- 
tion by lot among the Members. 

British Artists, who may wish to send specimens of 
their works for exhibition and sale, may do so through 
the undersigned, who will give all necessary parti- 
culars. George P. Putnam, Hon. Sec. 

Wiley and Putnam. Stationer’s Hall Court. 

E TCHING CLUB.— A few of the large paper 
Proof Copies of THE DESERTED VILLAGE, 
illustrated by The Etching Club, remain, and may 
be had on application to Mr. S. Redgrave, the Secre- 
tary, Hyde Park Gate, Kensington Gore; or to 
Mr. Griffiths, 14, Waterloo-place, Pall-mall. 

The Etching Club are now engaged in the illus- 
tration of Milton’s Poems, “ P Allegro,*’ and “ Pen- 

seroso,” on a similar plan. 

ASSOCIATION FOR THE PURCHASE OF BRITISH 
ENGRAVINGS. 

T HE COMMITTEE beg to intimate, that 
the SUBSCRIPTION LISTS for 1842 are now 
OPEN, and request intending Subscribers to insert 
their names as soon as possible. 

The object of this Association is to cultivate a taste 
for the Fine Arts, and to encourage native talent, by 
the distribution among its Members of Engravings 
of standard reputation, the productions of British 
Artists. 

A Subscription of Five Shillings constitutes mem- 
bership ; but a Member may subscribe for any number 
of shares. The whole of the funds are expended each 
year in purchasing engravings, selected by a Com- 
mittee of the Members, and distributed by ballot at a 
General Meeting of the Association, called by public 
advertisement. __ _ 

Subscription Lists lie with the Honorary Secretaries. 
James New lands, Architect, 9, Argyie-square, 
Edinburgh, Secretary. 

Honorary Secretaries for London : — Andrew 
Moffat, Bookseller, 6, Skinner-street, Snow-hill; 
Albxandkr Wilson, Engraver, 28, Thanet-street, 
Barton-crescent. 


Now ready, „ ___ | 

T he portrait of the right hon. 

LORD STANLEY, M.P. Beautifully engraved 
by F. C. Lewis, Esq., after the original, drawn from 
the life, the same size as the exquisite heads of the 
« Duke of Wellington ” and “ Sir Robert Peel,” by 
Sir Thomas Lawrence, just published by Messrs. H. 
Graves and Co. ^ _ 

Price — Prints £ 1 Is. ; Proofs with Autographs, £2 2s. 

London : H. Graves and Co., printsellers and pub- 
lishers, by special appointment, to her Majesty ana 
H.R.H. Prince Albert, 6, Pall-mall. _____ 

NEARLY READY FOR PUBLICATION, 

IN ONE VOLUME, QUARTO, 

D ISCOURSES delivered to the STUDENTS 
of the ROYaL ACADEMY, 

BY SIR JOSHUA REYNOLDS. 

Illustrated by Explanatory Notes and Plates, 

By John Burnet, F.R.S. 

London : James Carpenter, Old Bond-street. 

Immediately, in 1 vol., royal 4to., price 16a.i 

S KETCHES FOR RUSTIC WORK; 

Including BRIDGES, GARDEN BUILDINGS, 
SEATS, FURNITURE, ETC., 18 plates. The Scenic 
Views in the Tinted style of Zincography ; with des- 
criptions, and estimates of the Garden Buldings. By 
T. J. Ricauti, Architect. 

“This work, in addition to the Gate-lodge, Winter- 
house for Plants, Pigeon-house, Fishing-cottage, &c., 
contains a Design for a Gardener’s Cottage, with Fruit- 
rooms, &c., constructed exactly upon the principles 
advocated by Dr. Lindley in the “ Gardener’s Chroni- 
cle” for September 18th, and October 2nd, 1841. 

James Carpenter, Old Bond-street. 

Just published, in royal 4to., price £\ 5s. bound, 

R ustic architecture— 

Picturesque Decorations of Rural 
Buildings in the Use of Rough Wood, Thatch, 
etc. Illustrated by Forty-two Drawings ; consisting 
of Plans, Elevations, Sections, and Perspective Views ; 
the Doors, Windows, Chimney Shafts, &c., drawn 
geometrically to a large scale ; with descriptions and 
estimated costs. By T. J. Ricauti, Architect. 

“ We have repeatedly and strongly recommended 
this elegant and useful Work, and can safely say, that 
we think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardener’s Magazine. 

James Carpenter, Ol d Bond-street. 

Published in 4to., Price £\ 10s. in French Boards; 
and on Royal Paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, Price £1 7s., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of tlie Italian, Ve- 
netian, Flemish, Dutch, and English Schools; and 
WoodCuts. By JOHN BURNET, F.R.S. 

1. On the EDUCATION of the EYE. Second Edi- 
tion. Price £\ 58. . . 

2. On COMPOSITION. Fifth Edition. Price 15s. 

in boards. _ . 

3. On LIGHT and SHADE. Fifth Edition. Pnce 
18s. in boards. 

4. On COLOUR. Fourth Edition. Price jfl 11s. 6d. 
in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the New Edition of the Encyclopaedia 
Britannica— See the article on Drawing. 

James Carpenter, Bond- street. 


CHILDE HAROLD ILLUSTRATED. 

Now ready, royal 8vo., £* 2s., or Indian Proofs, £3 3s., 

C HILDE HAROLD’S PILGRIMAGE. By 
Lord Byron. A new and beautifully Illus- 
trated Edition, embellished with Sixty engravings by 
Finden, from original Drawings made by eminent Art- 
ists, and a portrait of Lord Byron in his Albanian 
dress, by Phillips, never before engraved. 

LIST OF PLATE8. 

1 Monument of Lysicrates H. Warren. 

2 Delphi Creswick. 

3 Newstead go. 

4 Cintra Warren. 

5 Mafra go. 

6 Talavera go. 

7 Seville go. 

8 Spanish Muleteer Do. 

9 Saragossa • • • go. 

10 Cadiz Do. 

11 Bull-fight Aubrey. 

12 The Acropolis H. Warren. 

13 Temple or Jupiter go. 

14 Gibraltar go* 

15 Malta go. 

16 Ithaca g°* 

17 Yanina g°* 

18 Zitza Do. 

19 Tepaleen C. R. Cockerell, R.A. 

20 Dance of Palikars H. Warren. 

21 Parga . . . . Do. 

22 Constantinople.. go. 

23 Colonna _ Do. 

24 Marathon Creswick. 

25 Ada G. Iiowse. 

26 Maison de Roi, Brussels H. Warren. 

27 Soignies go. 

28 Drachenfels Jf. Howse. 

29 Ehrenbreitstein 9r e ?!? ,ck * 

30 Aventicum H. Warren. 

31 Mont Blanc _ g°* 

32 Rousseau 9*»P°« W ^ e * 

33 Lake Leman J* B * Aylmer. 

34 Chillon Creswick. 

35 Ouchy (Lausanne) go. 

36 Venice P',) V A irr , en * 

37 St. Mark’s J* B. Aylmer. 

38 Steeds of Brass Do. 

39 Petrarch’s Tomb at Arqua G. Howse. 

40 Petrarch’s House -LB. Aylmer. 

41 Tasso G. Howse. 

42 Florence J. B. Aylmer. 

43 Venus de Medicis E. Finden. 

44 Santa Croce G* Howse. 

45 Thrasimene g „ ? r ^ en * 

46 Temple of Clitumnus J. B. Aylmer. 

47 Soracte Creawick. . 

48 Rome H. Warren. 

49 The Wolf T Do. 

50 Tomb of Cecilia Metella J* g* Aylmer. 

51 Rome.— Column of Pliocas. . .. Do. 

52 Fount of Egeria Sr rC S ,Ck * 

53 Rome.— Coliseum «*• warren* 

54 The Gladiator W. Finden. 

55 Rome.— Interior of the Coliseum .. H. Warren. 

56 Mole of Hadrian _ g?* 

57 Rome.— St. Peter’s (Interior) .. ..G. Howse. 

58 The Laocoon Finden. 

59 Apollo ? 

60 Lake Albano J * Aylmer. 

S* Copies of the work are always, kept richly 
bound in morocco, and a few sets of the Plates on India 
paper, can be had in a Portfolio. Pnce £h» 48. 

John Murray, Albermarle-ftreet, 


Digitized by 


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1 


THE ART-UNION. 


[March, 


FRESCO AND ENCAUSTIC PAINTING. 

Now in press, and shortly will be published, price 5s., 

A TREATISE ON FRESCO AND EN- 
CAUSTIC PAINTING; by Eugenio Latilla ; 
showing in detail the methods practised by the Greeks 
and Italians, with the various Stuccoes, Colours, and 
Mediums, as well as manner of applying them. Also, 
an Improved Method of Painting Cartoons; with 
Observations upon Mural Decoration generally. 

Published by the Author, 78, Newman-street; and 
to be had of the Artists’ Colourmen. 

This day is published. 


J M. W. TURNER, R.A., proposes to 
• PUBLISH, by Subscription, FIVE LARGE 
PLATES, viz. : — 

Dido and jfineas (morning of engraved by 

the chase) 24 in. by 16, Smith 

Caligula’s Bridge 24 — 16 Goodall 

Juliet, after the Masquerade. . 22$ — 164 Hollis 

Mercury and Herse (upright) 184 — 15 Cousins 

Crossing the Brook (ditto) . . 184 — 15 Brandard 

The plates are Mr. Turner’s own property, and may 
be subscribed for separately ; the issue to be strictly 
limited to 500, when the plates will be destroyed. The 
impressions to be signed and numbered by Mr. Turner 


T impressions to be signed and numbered by Mr. Turner 

OSCOE S SOUTH WALES, new edition, himself, and delivered in the order of subscription. — 
with 50 steel Engravings, and a coloured Map. Subscribers’ names received only by Thomas Griffin, 


This greatly improved edition is published at £1 5s. 
cloth extra, and £\ 15s.* morocco extra, and is uni- 
form with the new edition of Mr. Roscoe’s “ North 
Wales.” The morocco copies are bound in the best 
manner, and form superior and elegant volumes for 
presents. 

Tilt and Bogue ; Simpkins and Co. ; and Orr and 
Co., London. 

Now ready, post 8vo., 18s., 

H andbook to the public galleries 

of ART in and near LONDON. With Cata- 
logues of the Pictures, accompanied by Critical, 
Historical, and Biographical Notices. By Mrs. 
Jameson. 

“ To each Gallery is prefixed a short historical and 
explanatory introduction, giving an account of its for- 
mation, its present state, the days and hours when 
open to the Public,” &c. 

“ Mrs. Jameson has indulged in less of dissertation 
than we should have thought possible, producing in- 
stead, a Guide-Book of singular unity, clearness, and 
value. It could hardly be more thoroughly executed 
to keep the promise of its title.”— Athenaeum. 

John Murray, Albemarle-street. 

Now ready, post 8vo., 12s., 

H andbook of Italian painting. 

Translated from the Gennan of Kuglbr, and 


Esq., 14, Waterloo-place, Pall-mall, where an impres- 
sion of each plate, and the prospectus of publication, 
may be seen between the hours of eleven and four, any 
day in the week except Monday. 

ADAPTED for PRESENTS and REWARD BOOKS. 
Recently published by Whittaker and Co., Ave Maria- 
Lane. 

T HE ORIGIN, PROGRESS, and PRESENT 
CONDITION of the FINE ARTS in GREAT 
BRITAIN and IRELAND. By W. B. Sarsfikld 
Taylor, Curator of the Living Model Academy, &c. 
2 vols. post 8vo., with wood-cuts, price 21s. cloth. 

M ERIMEE’S ART of PAINTING in OIL 
and FRESCO. Translated, with considerable 
additions, by W. B. Saksfield Taylor, Senior 
Curator of the Living Model Academy, &c., with two 
chromatic tables, coloured. Post 8vo., 12s. cloth. 

C HAUCER’S POEMS MODERNIZED. By 

Wordsworth and others, with Introduction, 
by R. H. Horne, &c. Small 8vo., 7s. 6d. cloth. 

4. 


A Choice Collection of Pictures, and Splendid Carvings 
in Oak, from Worcestershire. 

M R. PHILLIPS begs to announce, that he 
is instructed to SELL by AUCTION, at bis 
GREAT ROOMS, NEW BOND-STREET, on TUBS- 
DAY, March 8, at One precisely, 

A CHOICE COLLECTION OF ANCIENT CABINET 
AND GALLERY PICTURES, 
by distinguished artists of the Italian, Flemish, and 
French Schools, selected with taste as to subject, and 
at considerable cost, by Charles Collins, Esq., whose 
attention has been given to the purchase of Works of 
Art for many years past, and particularly to the Italian 
School ; amongst which may be mentioned a 4 Repose 
in Egypt,’ by Baroccio ; a ‘Magdalen,’ by Guido; 

4 The Wise Men’s Offering,’ by Albano ; * Leda,’ by 
Cignani ; and other subjects of equal merit by 
The Caracci Guercino Mola 

The Poussins Bassano Orizonti 

Domenichino Cortona Panini. 

Also many excellent examples of the Dutch and Flemish 
Schools, including those of J. Steen, Weenix, P. Neefs, 
Teniers, P. Bril, Berchem, &c., and a series of 17 ex- 
quisite Carvings in Scripture Pieces, after designs by 
Michael Angelo, formerly in the church of Notre Dame, 
in the finest state. 

May be viewed two days preceding the day of Sale, 
and Catalogues had at Mr. Phillips’s. 

A Collection of Ancient Drawings in the Portfolio, 
Books of Print, Musee Frangais, fine proofs, from the 
Country. 

M R. PHILLIPS begs to announce that he 
will SELL by AUCTION, at his GREAT » 
ROOMS, NEW BOND STREET, on THURSDAY, 
March 10, and following Day, at One precisely, A 
VALUABLE COLLECTION OF ORIGINAL DRAW- 
INGS in the portfolio, by the distinguished masters of 
the German, Italian, Dutch, Flemish, and French 
Schools, the property of a Gentleman, and brought 
from his residence in the country, including tine exam- 


mm* a™ io« 4 - fromhisresidenceinttaecountry.includingfineexaai- 

^ ?tai ?ai1i ‘pATisiTTNr TDHE HISTORY and DESCRIPTION of pies by Raflaelle, Parmigiano, Titian, J. Romano, A. 
A rni: ZjT, ° f J 1 ^ LAAN . EAIIN IlINO. FOSSIL FUEL, the COLLIERIES, and COAL Saccht, Berchein, V. Velde, and other eminent artists; 

Translated from the Gennan of Kuglbr, ami TRADE of GREAT BRITAIN. By the Author of also a few portfolios of engravings, and books of prints, 
Sdited with Notes by C. L. Eastlakk. R.A. <« Treatise on Manufactures in Metal,” in “ Lardner’s including the Dresden Gallery, a fine old copy, the 

« an.- T 1 - r w fr « m E (Utor 8 Preface. Cyclopedia”. Second edition, 8vo., 14s. cloth. Mustfe Fransais, fine proofs, folio, and other Works on 

“ This work is intended to supply a want long felt by W 5 ’ ’ Art 


.Edited witn wotes oy u. i* eastlakk. k.a. <« Treatise on Manufactures in Metal,” in 44 Lardner’s 

« Thi. wo^.TnteS^ Ion* felt by Cyclopedia”. Second edition, 8vo., Wa. cloth. 

Eriiv'Hiato^’and'lfrorreaa^oM^e *Art W of*^aintiiie* TAR GREGORY’S HINTS, for the USE of 
nrhicl no other Englwh work supplies, vii., a short and IJ TE i A S I «p mS tm ra 

easily intelligible guide, pointing out to the unlearned TICS, and of SELF-TAUGH T STUDEN IS ; with Se- 

the leading style of ATt — the perusal of which will lection of Miscellaneous Tables, aud an Appendix on 

serve as a fit preparation for a visit to the collections of the Geometrical Division of Plane Surfaces. 12mo., 

Painting on the Continent, and in our own Country; price 6s. fioth. „ J’ ivn 

while the remarks it contains with reference to tne ¥7' EIGHTLEY S HISTORY of ENGLAND, 

characteristics of Schools and individual Artists, re- J\. Intended for Students, and those desirous of 

commend it as a means of forming the taste.” acquiring the important facts of the history in an 

John Murray, Albemarle-street. impartial and compendious form. 3 vols., 8vo., price 


T. H. FIELDING’S WORKS. 

T HE THEORY OF PAINTING. 3rd Edi- 
tion, much enlarged, royal 8vo. £1 6s. and 
illustrated with numerous Plates : to which is added an 
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index of Mixed Tiuts, as also an Appendix, containing 
a Manual of Lithography. 

THE ART of PAINTING in OIL and WATER 
COLOURS, for Landscapes and Portraits, including 
the preparation of Colours, Vehicles, Oils, &c., &c. : 
with numerous Plates. Imperial 8vo. £\ 7s. 

A SYNOPSIS of PRACTICAL PERSPECTIVE, 
Lineal and Aerial, 19 Plates, royal 8vo. £ 1 4s. 

THE ART of ENGRAVING, being an historical and 
distinct account of the different kinds of Engraving 
now in use. Illustrated by numerous specimens of the 
best engravers in each style. Royal 8vo. 12s. 

Ackermann and Co. 96, Strand. 

Now publishing, beautifully printed and neatly bound 
in cloth, price 7s., or in six parts at Is., illustrated 
with Water-coloured Engravings. 

T HE COMPLETE GUIDE to the FINE 
ARTS: containing full Instructions in Drawing, 
Oil and Water-colour Painting, Portrait Paiuting, 
Landscape Painting, Miniature Painting, Perspective, 
Crayon Painting, Grecian and Persian Painting, Flower 
Painting, Lithography, Engraving on Wood, Copper, 
&c., and valuable Recipes. 

Part. 1. contains— The Whole Art of Oil Painting— 
2. Drawing and Sketching from Nature — 3. Drawing 
in Perspective — I. Miniature Painting— 5. Engravings 
on Wood, Copper, and Lithographic Drawing— 6. Land- 
scape Painting in Water-colours, &c. Each part com- 
plete in itself. 

T. Ploper, 19, High-street, Marylebone; and W. 
Brittain, Tateruoster-row. 

■ - v ijy * PATFVT Inkstand 

tlt^vcVi^iplete yet offered to the public, in 
whiV'T, fter-r^’nrrf^aults of inkholders— mouldincss, 
eorroi in.^- and thickening of ink— are 
ceie* y immense improvement on the 

» . Stands now in use, aud will 

t y.-ort *.i. J lia and otl »er hot climates, 

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IV Intended for Students, and those desirous of 
acquiring the important facts of the history in an 
impartial and compendious form. 3 vols., 8vo., price 
£\ 11*. 6 d. cloth. 

7. 

C UVIER’S ANIMAL KINGDOM. In Six- 
teen Volumes, with 814 Engravings. Translated 
by E. Griffith, F.A.S., and Others. The small re- 
maining Stock reduced to the following prices :— 

Demy 8vo.. . .formerly £26 8*. cloth, now 12 guineas. 
Royal 8vo., col. „ 51 12*. ,, 25 .. 

Demy 4to., India proof, 52 16*. „ 24 pounds^ 

THE WORKS OF THE LATE SIR DAVID 
WILKIE, R.A. 

M ESSRS. CHRISTIE and MANSON have 
the honour to acquaint the Nobility and Con- 
noisseurs, that in April they will SELL by AUC- 
TION (by order of the Executors), the beautiful 
WORKS of that inimitable Painter, and most dis- 
tinguished ornament of the Royal Academy, 

SIR DAVID WILKIE, DECEASED, 

This Collection comprises Oil Paintings and Sketches, 
and a large assemblage of the most exquisite Drawings 
in Water Colours, and Sketches in Pen and Black 
Lead, including the almost invaluable Series made 
during his last tour in the East. 

Further particulars will be duly announced. 

The Cabinet of Pictures of John Knowles, Esq., F.R.S., 
deceased. — By Messrs. CHRISTIE and MANSON, at 
their GREAT ROOM, KING-STREET, St. James’s- 
square, on FRIDAY, April 22, at One precisely. 

T HE Choice COLLECTION of Italian, 
French, Flemish, Dutch, and English PICTURES, 
collected during the last 40 years by that excellent con- 
noisseur, John Knowles, Esq., F.R.S., deceased; com- 
prising a * Musical Party,’ a capital work of Georgeone; 
the * \ irgin appearing to St. Frauds,’ by Mastelletta; 
and ‘ Venus at the Bath,’ by Palma, from the Orleans 
Gallery ; and others by 

Sulvietti Ostade Both 

L. Carracci V. Der Neer Wouvermans 

Carravaggio Rembrandt V. De Velde 

J. DeMubuse J.ievens Sir J. Reynolds 

Rubens Kierinx Wilson 

V. Dyck Benrhem Gainsborough 

Swaneveldt Poclemborg Morland 

Teniers Cuyp Stothard 

Also two tine works of Fuseli ; a Bust of Garrick, in 
terra-cotta, by Nollekins; and a terra-cotta of Moses, 
after M. Angelo. 

May be viewed two days preceding, and catalogues 
had. 


including the Dresden Gallery, a fine old copy, the 
Musle Frangais, fine proofs, folio, and other Works on 
Art. 

May be viewed two days preceding the sale ; and 
catalogues had ten days prior at Mr. Phillips’s. 

THE LATE MONSIEUR DE ST. DENIS’S 
COLLECTION OF PICTURES. 

M R. PHILLIPS begs to announce, that he 
is instructed to SUBMIT to SALE by AUC- 
TION, at his GREAT ROOMS, NEW BOND- 
STREET, on WEDNESDAY, March 23rd, and fol- 
lowing Day, at One precisely, 

A HIGHLY PLEASING COLLECTION OF 
CABINET PICTURES, 

principally formed from the French, Dutch, and Flem- 
ish Schools, by the distinguished Amateur, Mods, de 
St. Denis, late of Paris, deceased ; including several 
charming examples by Watteau, Greuze, Pater, Bou- 
cher, Vernet, Guardi, Canaletto, &c., in particular the 
celebrated * Belle Paysanne,’ by Greuze ; a * Bac- 
chante,’ by the same ; the original study for the 4 Girl 
with a Dog,’ aud his own Portrait, presented to the 
late owner, accompanied with the artist’s original au- 
tograph letter, 4 The Discovery,* by W’atteau/and the 
4 Picture Letter,’ with several Panels, by this artist and 
Boucher ; a splendid picture by Fyt ; a 4 Coast Scene,’ 
by Vaudcr Capella ; a 4 Moonlight Scene,’ by Van der j 
Neer, bis ehef-d'auvre ; three 4 Battle Pieces,’ by 
Hughtenberg, ; two Compositions by Van Stry, ana | 
two by Vandermeulen ; Scenes by Caualetto and 
Guardi; Portraits of Henry VIII., Mary Queen of 
Scots, Montaigne, and particularly the Daughter of 
the Duke D’Antin, by Watteau ; also clever examples by 
Gonzales Cuyp Slengel&ndt Vernet 
Swaneveldt Dekoning Ferg Guardi, &c. 

To be publicly viewed two days previous to the Day 
of Sale, at Mr. Phillips’s, as above. 

B OND’S PERMANENT MARKING INK: 

the original and far superior article, requiring 
no preparation, for Writing upon Linen, &c., so as to 
prevent the liability of loss or mistake.— Sold by the 
Preparer, JOHN BOND, Chemist, 28, Long-lame, West 
Smithfield, Loudon ; Sutherland, Cal ton- street, Edin- 
burgh ; Ferrier and Co., Dublin ; and most Station- 
ers, &c. Price One Shilling a Bottle. 

P OOLOO’S CHINESE CEMENT. — TT»e 
extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at Is. 6d., 2s. 6d., 4s. 6d., and 7s. 6d., 
by the l*roprietor*s sole agents, BLOFELD and Co.j 
Cutlers and Ruzormakers, 6, Middle-row, Holborn ; and 
! by their appointment, at the principal Chemists and 
I Perfumers. BLOFELD’S London made Table Knives, 

| at BLOFELD and Co.’s, 6, Middle-row, Holborn. 


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1842 .] 

THE ART-UNION. 



LONDON, MARCH 1, 1842. 


CONTENTS. 


1. FRESCO PAINTING ; ANCIENT AND MODERN . 89 

2. ART APPLIED TO MANUFACTURE, NO. II.. .. 43 

3. THE ARTS IN CONTINENTAL STATES : 

ITALY; FRANCE; GERMANY; PRUSSIA; 
RUSSIA 45 

4. THE SCOTTISH ART-UNION 45 

5. WORKS IN PROGRESS 46 

6. CORRESPONDENCE: 

ART-UNION OF LONDON; BRITISH SCULP- 
TURE 46 

7. LINKS ON THE PICTURE OF R. INNES 47 

8. THE PONI ATOWSKI OEMS 47 

9. IMPROVEMENTS IN THE METROPOLIS .. .. 48 

10. OBITUARY: 

dannecker; bouchot; fry 48 

11. PROGRESS OF WOOD ENGRAVING, WITH 

SPECIMENS 49 


12. THE BRITISH INSTITUTION, EXHIBITION 1842 57 

13. varieties: 

THE ROYAL ACADEMY; MR. HOWARD’S 
LECTURES; THE ETCHING SOCIETY ; NEW 
SOCIETY OF PAINTERS IN WATER CO- 
LOURS; THE ART-UNION OF LONDON; 
UTILITARIANS 1 V. FINE ARTS; THE 
EXCHANOE COMMEMORATION MEDAL; 
BIELEFELD’S PAPIER MACHEJ CAPTAIN 


TAYLER’S FLOATING BREAKWATER .. .. 60 

14. REVIEWS OF PUBLISHED WORKS 62 

15. REVIEWS OF FOREIGN PUBLICATIONS .. .. 64 


FRESCO PAINTING; 

ANCIENT AND MODERN. 

In the first period of its existence Art may be con- 
sidered as a language, it next becomes the form 
of the beautiful, the symbol of feeling, and of 
the abstract and general conceptions of the mind. 
For the religious impressions, the mythic tradi- 
tions of a people soon become embodied; the 
virtues which adorn, the vices which degrade 
society assume a figurative type ; man desires to 
imitate and to record, and every age is anxious 
to transmit its impressions to the future, to 
heighten them by refinement of expression, and 
to give them the character of duration. This is 
particularly true wherever, as a national charac- 
teristic, the imagination is more predominant 
than reason ; where ideas, which possess no substan- 
tive existence, require a kind of objective cer- 
tainty to represent them ; where language is in- 
formed, inadequate, or the means are unknown 
for the expression of thought, by printed cha- 
racters. 

It was thus in Egypt and in Greece, where 
Art was directed to inculcate religion, deify heroic 
action, hallow the social virtues, and refine the 
public feeling. 

In works of Art, the characteristic of the 
Greek, is the perception of the beautiful; that 
of the Egyptian, sublimity and duration. The 
Greek was imaginative, highly rationalistic, and 
sceptical ; the Egyptian was gloomy, fettered by 
the institution of castes, reflective, but debased by 
superstition. Painting and Sculpture were alike 
patronised by the religious institutions of both 
nations : but the mind of the Egyptian artist was 
palsied by the restrictions of the priesthood, 
which forbade all change in the form of the 
human figure, enjoined the same formal outline, 
and conventional mode of execution. Even 
under the influence of Greek and Roman con- 


THE ART-UNION. 


quest, or the reign of the Ptolemies, they re- 
mained in this respect unchanged. Apart from 
the stimulating atmosphere, the free soil, and 
unfettered habits of the Greek, the philosopher 
promoted the Fine Arts, as a mode of refinement ; 
the priest, because it excited religious feeling ; and 
the legislator because the emotions of patriotism 
were heightened by the commemoration of great 
events. Mural painting, the first step towards 
monumental works of Art, was early employed 
by the Egyptians, the Greeks, and other nations, 
for the purpose of internal and external decoration. 

This appears, from the often cited passage in 
Ezekiel viii., 10, and chapter xxiii., 14, 15; as well 
as from the general testimony of Greek and Latin 
authors. 

Of late years this practice of mural painting has 
been disputed by many critics of Italy, Germany, 
and France. In France opinion is chiefly divided 
by the theory of Raoul- Rochette, and Letronne. 
M. Rochette is of opinion, that the paintings 
mentioned by Pausanias, in the Pcecile, painted 
by Polygnotus, Micon, and Pantoenus, were on 
wood inserted in the wall , and that those in the 
Temple of Theseus, and of the Dioscuri, were 
similarly executed. He maintains this opinion, 
not only by the most extensive erudition, but by 
the following quotation, from the letters of 
Synesius: “The Poecile has ceased to be the 
Poecile since a proconsul had removed the panels 
of wood illustrious by the art of Polygnotus.” 
But if we consider the description of Pausanias, 
not only in relation to the Pcecile, but with re- 
spect to other buildings, it is difficult to escape 
the conviction that they were painted on the wall. 
Of the Pcecile he says, “ In the middle wall are 
( Theseus and the Athenians fighting against the 
Amazons;’ next to which are the ‘ Greeks who 
have taken Ilium and this latter picture is evi- 
dently of considerable extent. In the Temple of 
Theseus he describes the picture of the third wall 
as not clear, because injured by time ; and be- 
cause Micon had not expressed the whole affair. 
Similar descriptions apply to the Dioscuri. It is 
not improbable, however, that Pausanias has re- 
ferred both to pictures and painting on the walls. 
We know that pictures were placed in the temples 
at a very early period. They were at first votive, 
not necessarily mythic, but consecrated as being 
placed in the temples, and comprised under the 
general class of avafrnpaTa.* Portraits were so 
consecrated, not only from a political motive, but 
a religious feeling ; for instance, the portrait of 
i Theinistocles, in the Parthenon,’ placed there as 
a public expiation of the injustice with which the 
Athenians had treated the Conqueror of Salamis. 

When this custom first commenced, it is im- 
possible to state (Boech. Corpus. Ins. Gr. tome i., 
p. 18, 19), but it was extensively practised, the 
pictures were arranged, and it was to the 
Herceon of Samos that Strabo first applied the 
terra Pinakothek. Considering, however, the 
opinion of Pliny, the statement of Pausanias as 
regards mural painting, that it was an Art not 
unknown in other countries, the certainty that 
colour was employed in the decoration of Greek 
architecture, and in part applied to statues — ad- 
mitting to the full extent the existence of tabular 
pictures on wood, placed in public buildings, 
and the fact of their removal by the Romans — it 
does not appear that mural painting was un- 
known, to the extent M. Rochette would suggest ; 
although possibly its general employment has 
been hitherto too readily admitted. Whether the 

* M. Rochette uses this word, I think, in the sense 
here adopted, that is as “ consecrated :” it might be also 
employed in the meaning of “ accursed,” “ devoted to 
the infernal deities.” It would be an interesting in- 
quiry to ascertain whether in times of party spirit or 
strife, or on occasion of cowardice, betrayal of public 
trust, &c., the Greeks might not place the portrait of 
a political antagonist or state criminal in a temple from 
this latter motive. At Venice, in the Hall of the Great 
Council, the place for the portrait of Marino Faliero is 
painted over with a black veil, and the following words 
are inscribed : “Hie est locus Marini Faletro, decapi- 
tati pro criminibus.” Would not this tend to confirm 
the probability of such a practice in Greece? Victor 
Hugo notices a similar fact in Egypt* 


39 


Greeks painted in fresco is a doubtful fact: 
painting on stucco, in distemper, and encaustic, 
is well attested.* Painting in distemper consisted 
in dissolving colour in water, mixing it with glue, 
and then intensely varnishing the surface ; En- 
caustic was a kind of painting in which the colours 
were mixed with wax, and which, by various 
modes of applying heat, became fixed in their ori- 
ginal splendour. It has been lately revived at 
Munich, according to a process made known by 
Montabert, in his “ Traite de la Peinture.” 

In whatever manner the Fine Arts may have 
been practised in Rome, their real development, 
and the refinement produced by the influence of 
literature, was the result of the conquest of 
Grsecia Magna and Sicily. 

Graicia capta ferum victorem cepit, et arte*, 

Intulit agresti Latio. 

It was Greece who placed her fetters upon her 
barbaric conqueror, and held him in a slavery, 
more glorious than his own freedom ; humanizing 
his character, and redeeming, in some degree, the 
misery entailed upon the world, by his desire of 
universal mastery and shameless lust of conquest. 
Thus the Roman knew, 

Quid Sophocles, et Thespis, et JSschylas utile ferrent; 
and the robbery of Greek Temples, gave him the 
finest works of plastic Art, by which to guide his 
judgment and refine his taste. One great proof, 
indeed, of the practice of mural painting in 
Greece, is the knowledge we possess of the similar 
custom at Rome. For here, the Fine Arts were 
exclusively cultivated by Greek artists, or by 
others educated in Greek schools ; and the same 
materials for colour were employed. Before this 
period mural painting had been practised by the 
Etruscans, Volsci, and Latins ; and it was cus- 
tomary to cover sandstone and brick with a 
coating of calcareous composition, upon which 
colour was employed. This at first might be 
monochromatic. Mere ornamental fresco was 
the work of inferior artists ; as, for instance, the 
decorations in the country towns of Herculaneum, 
and Pompeii, but the houses at Rome, the Palace 
of the Caesars, the public edifices, the Baths of 
Titus, give examples of a much higher order. 
Much of this was meant to be seen but by torch 
light ; and its style may be considered Romanesque, 
rather than Arabesque. According to Vitruvius, 
the ground for fresco pointing was thus pre- 
pared. The colours were applied moist to the 
surface of a stucco, formed of powdered marble 
mixed with lime. The wall or ceiling had three 
distinct coatings of this material, of which the 
first contained a coarse powder, the second a 
finer, and the other the finest marble dust ; and 
this was carefully polished. The frescoes in the 
Baths of Li via and of Titus, and the ground of 
the celebrated Altlobrandini picture are of this 
kind. Those found at Rome, in 1780, which be- 
came the property of the Prelate Casali, con- 
sidered as forming one wall of an extensive gal- 
lery, and which, from the subject represented, 
were called Dapiferi, are similarly executed. By 
experiments made by Sir H. Davy, no appear- 
ance of any wax varnish, or of animal or vege- 
table gluten to fix the colour, was perceptible. 
In black colours (possibly at all times difficult to 
treat), Pliny states, that glue was used to fix them. 
Duration of colour must depend upon the em- 
ployment of proper vehicles, and the careful pre- 
paration of the wall. The history of ancient 
mural painting may here properly close. To trace 
it during the decline and fall of the Roman Em- 
pire ; its state during the struggle of Christianity 
for the mastery of the human mind, and its final 
grandeur in Michael Angelo and Rafiaelle, would 
be more properly the subject of a distinct essay. 
Tliis period is, therefore, omitted, that attention 
may be directed to the History and Process 
and present state of Fresco Painting in Ger- 
many, Italy and France. 

The process of fresco-painting consists in this 
— A well-dried wall is covered over with one or 

* See a valuable note (in Kugler’s Hand-Book of 
Painting), by Mr. Eastlake, page 85. 


Digitized by V joogle 


40 THE ART-UNION. [March, 


two lines (about l-16th of an inch thick) of a 
very carefully-prepared mortar, made of fine river 
sand and old lime ; which serves as the ground of 
the painting, and possesses the property, so long 
as it is in a damp state , of fixing the colours ap- 
plied to it without the aid of size or of any other 
medium ; so that neither when dry, nor by means 
of water, can they be effaced, but in the course 
of time become more completely united with the 
surface of the wall. This union of the pigment 
with the mortar, prepared as above, is not merely 
a mechanical adhesion, but a real chemical co- 
hesion. For the lime, thus slacked in the wet 
mortar, has the peculiar property, during its dry- 
ing or setting, of working to die surface, and, 
owing to the absorption of carbonic acid from the 
atmospheric air, to become there crystallized to a 
fine transparent enamel, which the colouring 
matter, when applied, thoroughly penetrates, in- 
vests, and becomes itself so fixed. This crystal- 
lized surface, a kind of stalactite formation , is 
with difficulty soluble in water, and is not de- 
stroyed by other atmospheric influences; but by 
the continued chemical action of the carbonic 
acid and moisture, it becomes as it were still 
further concreted, or harder and harder still. In 
this chemical union of the pigment with the lime, 
(which is applied to the mortar or to the colours 
themselves as a liydrat of lime, but which in the 
end at least partly passes into a carbonated neu- 
tral salt), the condition now exists, that those 
pigments only can be employed which are not 
altered by caustic lime. On this account, there- 
fore, not only is the use of vegetable and animal 
pigments in general excluded, but those even of 
the mineral kingdom which possess elementary 
properties in too great affinity with or liable to 
be decomposed by the lime ; for else they not 
only lose their own former natural condition, but 
enter into a new secondary one with the lime, by 
which the colour becomes changed. Now as this 
fixing of the colour depends on the humidity con- 
tained in the thin coating of lime, it follows that the 
laying on of this and the completion of the paint- 
ing upon it can proceed but by degrees ; and 
that only so much of the wall, therefore, must be 
covered at a time as the painter is certain of 
finishing in one day. Colours applied afterwards 
could never durably unite with the ground on 
which the crystallized surface is already formed, 
as the communication between the colours and 
the solution of lime still contained in the mortar 
would cease. Ab the colours appear considerably 
darker (not, however, all equally so) before they 
are completely dry, it may be requisite for the 
most skilful artist to retouch parts of the paint- 
ing in distemper, to soften any harshness in out- 
line or inequality that may exist.* For the same 
reason, it is apparent that a well-balanced and 
finely-felt harmony of light and shade is not so 
attainable, as in an art where the painter has al- 
ways before his eyes not only the true effect of 
that part of his work which is completed, but can 
retouch it, changing and labouring the colours as 
the effect requires, till by a gradual process of re- 
painting and glazing the wished-for harmony is 
attained. Another peculiarity of fresco-painting, 
and one much more important in its consequences, 
is its entire want of all transparent and juicy 
colours ; so that shades of only moderate depth 
appear dry, dim, and deprived of that spirit of 
illusory truth so favoured by the use of colours 
mixed with rich vehicles. On the other hand, 
fresco surpasses all other modes of painting in re- 
presenting gradations of light. The deficiency 
of a pure crimson and bright red, caused by the 
exclusion of all vegetable dyes, is to be considered 
but as a secondary evil : it is one which in the 

* But this is a custom, if possible, invariably to be 
avoided ; it diminishes that vigorous feel injr with which 
works of this kind should be conducted, nourishes 
an inclination towards littleness in detail; faults are 
corrected, rather than foreseen; it is censured by 
many of the most eminent Italian painters, and thus 
condemned by Vasari: “Perd quelli che cercano 
lavorar in muro, lavorino virilmente a fresco, e non 
ritocchino a secco ; perdu*, oltra Passer cosa vilissima 
rende piu corta vita alle pitture,” &c. 


later middle ages was remedied by superficial 
coatings of transparent colours in distemper. 

Thus it is clear that fresco is not adapted for 
any such branch of Art as principally requires a 
magical effect of light, shade, and colour, or 
which, in short, aims at producing illusion : this 
should be as much as possible avoided, for all at- 
tempts of this description only tend to create 
hopes we cannot realize, and subvert what is pos- 
sible by efforts at impossible effect. On the other 
hand fresco essentially possesses the power of re- 
presenting form and figure — all that can express 
thought, idea, character ; and is perfectly adapted 
to any undertaking which acknowledges these as 
its legitimate object. If to this we add its Extra- 
ordinary durability, and consider that not only is 
it connected but indissolubly united with the wall 
as the polish to the marble, we must then admit 
that it is the most suitable, if it be not the only 
style appropriate for monumental works, in which 
form and character predominate above the charms 
of light and colour, and which produce effect 
rather by the expression of thought than by an 
effusion of feeling allied to the style of lyric 
poetry. 

But it is objected, that the want of transparent 
dark colours, and the impossibility of producing 
deep and dark shades of great illusory effect, are 
fatal to its general employment. Yet this sup- 
posed imperfection (for it is no more) renders it 
the more appropriate for designs upon a large 
scale ; which are in general so connected with 
architecture that they seem to form one organic 
and harmonious whole. Architecture gives the 
principal forms; to enliven without destroying 
them is the task of fresco painting. Its subjects 
must make, therefore, no appeals to the illusions 
of the senses, nor aim at being mistaken for 
reality: the highest object should be poetic and 
artistic truth, in so far as this is attainable with- 
out lowering its greatness of style. When, how- 
ever, fresco united with architecture has fulfilled 
the required end (that is, of artistically enliven- 
ing the architectural forms, either spherical, 
cylindrical, or plain surfaces, without destroying 
their outline), then the very impossibility of 
breaking the apparent surface of the wall by deep 
deceptive shades , making the represented scene 
appear like reality, becomes a matter of appro- 
priate consideration. We must seek for aid from 
an antagonist power. This we find in the extra- 
ordinary light of the lime and of the colours 
united with it, which afford sufficient means to 
produce the requisite effect. For, let it be 
assumed that the whole picture is several shades 
lighter than if executed in oil, or than even reality 
would be in a diffused light, yet the perfect suf- 
ficiency of the means in question to obtain a 
satisfactory result with consistency and truth is 
not to be doubted, without the picture having the 
appearance of reality, or without changing and 
interrupting the effect of the entire architectural 
surface. And here, too, another advantage must 
not be overlooked, namely, that the space painted 
seems enlarged by light colours, and appears 
loftier, more free, and cheerful. This theory is 
fully confirmed by the works of the middle ages, 
when painting had attained its highest degree of 
perfection, from the time of Giotto to Haffaelle. 
The celebrated artists of that period endeavoured 
to produce mural works of Art, which were to be 
congenially blended with the architectural design, 
and not to appear as additions at once super- 
fluous and unmeaning. They made no attempts 
to foreshorten their figures ( either ichen the 
horizon was low , or even on roofs) ; they avoided 
all such tricks, which could but have produced 
an unideal relation between nature and the imi- 
tations of Art, and painted the surface as they 
would have done pictures in general. The absurd 
custom of totally transforming and destroying 
the architectural surface by means of perspective 
and optical trick, so as apparently to raise the 
roof of a hall or church having a flat roof, to t# 
cupola, &c., commenced during the decline of the 
art under Correggio, and is most remarkable at 


the period of Andrea Pozzo and his contempt 
raries. But in adopting these views, modem 
artists fail not unfrequently, by giving too deep a 
tone to their colours . It arises from this cir- 
cumstances. Accustomed to paint in oil, they 
seek to trasfer to fresco the effect of oil. This 
appears at first an insignificant mistake, but in 
reality it destroys every principle of fresco. For 
the inevitable results of these attempts at impos- 
sible illusion are dry, dull, heavy shades, the de- 
struction of the architectural surface, and finally, 
want of light and of equality of colour. 

Having now considered the process, the par- 
ticular limits and powers of fresco, it is requisite 
to give some general account of its present position 
as a branch of Art. It has been frequently 
asserted, “ that the secret of fresco painting was 
for a long time lost ;” or, “ that it remained en- 
tirely unpractised, until lately brought into use 
by the German artists at Rome.” This opinion is 
unfounded. 

It is well known that the Italians and the 
Tyrolese use it extensively even to the present 
time in their churches, monasteries, and palaces ; 
so that the Gennan painters can maintain no 
claim to its re-discovery. They may be said to 
have restored the Art, inasmuch as they have 
based it upon rational principles. They have 
sought, after the example of the masters of the 
fifteenth century, by pursuing what others have 
despised — the study of nature — to give it a place 
no less becoming than important in the interests 
of religion and life. To this merit the German 
painters are fully entitled. 

There is a period in the history of Art when 
the very genius which led to its progression, 
becomes the cause of its decline. It is when 
painting ceases to exhibit nature, but merely re- 
flects the artist. When the conception of great 
thoughts, the scenes of nature, the dramatic 
incidents of life, when all that prompts to indi- 
vidual action, or links man to his fellow man in 
the wide relationship of humanity, giving to Art 
the sublimity of revelation, the character of his- 
tory and the force of truth, have ceased to influ- 
ence the mind , — the picture will become the 
tame and spiritless effort of an imagination con- 
ventional and unreal, of conceptions faintly re- 
flecting the creative power of the past, of thought 
and feeling, bearing a species of causeless affinity 
with the affections, emotions, or actions of man ; 
and of ideas, the highest excellence of which may 
consist in assimilating Art to the character of a book 
of fashion ; — the mark of the predominating influ- 
ence, the type of the opinions of the day. And 
when to this we add, the evil that must arise from 
fixing the essential qualities of a work of Art, not 
in its internal excellence, but in the practised 
superiority of external treatment : when that 
which forms the inward life and soul of Art is 
sacrificed to that which is its mere mechanic 
power, we cannot wonder, that mediocrity in the 
artist, dogmatism in criticism, or indifference in 
the people, should become the inevitable re- 
sult. This, or something like to this, was the state 
of Art at periods of the sixteenth and seven- 
teenth centuries. But about the middle of 
the eighteenth a desire for severer study again 
appeared, and the critical spirit of the German, 
which has been so deeply exercised at all periods 
in literature, was now also turned to Art. In 
17(10, Christian Ludwig von Hagedorn, pub- 
lished his Essays upon painting, and thus pre- 
pared the way for A. R. Mengs and J. Winckle- 
man, wdio first felt and communicated the spirit 
of the antique in all its depth. But the prin- 
ciples of Mengs would have established a new 
form of eclectism, w'hich is but another name for 
mediocrity ; and it was soon discerned that even 
his external merits were valueless, and were at 
once to be repudiated to prepare the way for the 
restoration of Art in the vigorous excellence of 
uncorrupted youth. It was Carstens and Schick 
who in the first instance strove earnestly to effect 
this: but the times in which they lived were 
unpropitious. On the one hand, the most coin- 


id by boogie 


1843 .] 


THE ART-UNION 


41 


plete indifference of the public, on the part of 
artists and the patrons of Art the most irrational 
love of novelty, neutralized their exertions. Their 
friends and followers, Wiichter and Koch, have 
scarcely received more encouragement and sup- 
port from their contemporaries. 

With far greater success than the artists above- 
mentioned, Cornelius, Overbeck, Veith, and Scha- 
dow, associated to effect the complete restoration 
of fresco-painting. At the villa of the King of 
Prussia’s Consul, the Chevalier Bartholdy, they 
found the desired opportunity. The subjects 
selected were from the “History of Joseph.” 
The 4 Explanation of the Dream,’ and the 4 Recog- 
nition in Egypt,’ are by Cornelius ; the 4 Sale of 
Benjamin,’ and the 4 Year of Famine,’ by Over- 
beck ; 4 The Garments Stained with Blood,’ and 
Joseph in Prison,’ by Schadow ; and 4 The Year of 
Plenty,’ by Veith. Apart from their intrinsic 
merits, these pictures derive a particular import- 
ance from the consideration, that they were the 
first productions that had been seen for centuries, 
of art, pure, powerful, and refined. With refer- 
ence to either, they will exist as invaluable monu- 
ments, worthy of the present and of succeeding 
ages. To these artists Prince Massimi gave at a 
subsequent period a far more extensive commis- 
sion. At the Villa Massimi, in the neighbour- 
hood of the Late ran, the hall and two chambers 
were directed to be painted in fresco, with compo- 
sitions from the three greatest epic poets of Italy. 
J ulius Schnorr undertook the “ Orlando Furioso ” 
of Ariosto ; Overbeck, with Joseph Fuhrich, the 
“ Jerusalem Delivered ” of Tasso, for one of the 
side-rooms ; and Veith, with Koch, the 44 Divina 
Commedia” of Dante, for the other. Veith’s 
task, the 44 Paradise,” was originally to have been 
painted by Cornelius ; but just as the design was 
prepared, he was called away to fulfil the duties 
of Director of the Academy at Diisseldorff, and 
thus its completion was delayed. However san- 
guine the expectations in which, after the works 
executed at the Casa Bartholdy, we might in- 
dulge, yet the surprising elevation which fresco 
had attained was throughout remarkable in the 
decoration of this villa. Independent of the 
excellent pictures of Overbeck and Veith, full of 
original genius, Julius Schnorr’s graceful compo- 
sitions in rich landscape exhibit this branch of 
Art in an entirely new point of view. Koch, the 
landscape-painter, in his compositions from the 
Hell and Purgatory, displays an imagination 
at once animated and powerful ; and surprises 
us by his vigorous conception of the poet’s some- 
what mystical ideas. Fuhrich, also, who now 
for the first time enters the list as a fresco- 
painter, impresses us with a favourable opinion of 
his talents. 

About the same time, Overbeck painted in the 
church of Santa Maria degli Angeli, near Assisi, 
upon the end-wall of the chapel of St. Francis 
an admirable fresco, the subject of which re- 
lates to the history of that saint. 

Cornelius, who considered fresco-painting as 
the most suited to the highest aims of Art, was the 
first to introduce it into Germany. When Di- 
rector of the Academy of Diisscldorf, he imme- 
diately commenced the decoration of the Hall of 
the Glyptothek at Munich with designs from the 
Greek mythology. These paintings are now so 
deservedly celebrated, that it would be superflu- 
ous to enter into details either as to their subjects 
or arrangement. With regard to their general 
conception and treatment, and individual delinea- 
tions of character, it has been objected that they 
are neither Grecian nor antique. Now on this 
point these questions arise : Whether it be possi- 
ble, and now particularly, for us really to con- 
ceive and to create in the pure spirit of the 
Greeks? and even if it were possible, whether 
we ought so to do ? The first question may at 
once be negatived ; and the other, assuming the 
first to be even answered in the affirmative, 
can present no difficulty, if we direct our atten- 
tion to the general scope and end of Art. Now 
Art is conversant with representations of organic 


forms, originally acquired by means of the senses, 
but combined in harmony and beauty in the 
inner world of the artist’s fancy, and reproduced 
from thence in order to excite in others corre- 
sponding impressions. Accordingly, such images 
only should be introduced in Art as exist really 
in the mind and soul of the artist : they should 
be truly moulded, as they are truly felt, in the 
artist’s pure conception, and not affectedly or ar- 
tificially. The sympathy or unison of feeling 
which such works find in the public mind, will 
depend upon the degree in which they correspond 
with the spirit of the age and its predominant 
tendency. But it is not always necessary that the 
artist’s subjects should be taken from the actual 
world, in order that the public should be inte- 
rested in them ; they may embrace all that is 
dignified and generally characteristic of human 
nature, however remote may be its conditions of 
time and place. Whatever the human mind can 
compass, is its legitimate province. It is a 
despotism at once ignorant and absurd to confine 
the artist within arbitrary limits ; for example, to 
withhold or exclude the highly poetic mythology 
of the Greeks. Such treasures, as a Greek, he 
cannot indeed possess, nor yet for Greeks lias he 
to re-create them ; but merely as they appear in 
the light and shade of his time and of national 
habits. This variable and accidental form con- 
sists, however, in points unessential and subordi- 
nate. The immutable principle, and that which 
belongs to the Art of all times, can be alone the 
property of mankind. The re-admission of the 
Greek mythology within the sphere of our Art, 
seen in this point of view, should appear to us, 
therefore, as little objectionable as the circum- 
stance that Cornelius has imbued his ancient 
forms so deeply with the spirit of our own times, 
that they do not, like the figures in the Etruscan 
vases, require a particular study, much text, and 
more learned commentary to understand them. 
For to enjoy we must comprehend — that is, if 
the mind be the source of the pleasure. But it 
is precisely in the execution of these mythic pic- 
tures that the power of Cornelius is evinced. 
Character and dignity are here united with a high 
degree of grace : the drawing is severe, the colours 
simple, as the object required. 

During the progress of these works in the Hall 
of the Glyptothek, the open arcades in the Hof- 
garten were similarly painted in fresco by many 
pupils of Cornelius. The subjects chosen were 
from the history of the Priuces of the House of 
Bavaria. Other works of various merit (as 
Langer’s pictures in the Leuchtenberg Palace, 
the ceiling of the Odeon, that in the Protestant 
Church, by Hermann, the picture in the Church 
of Sendling, by Lindenschmidt, Ac.) are not to 
be compared with those commenced immediately 
after the completion of the Glyptothek, in the new 
wing of the Residence, and in the Castle Chapel. 

Henry Hess was next commissioned by the 
King to paint the Chapel of All Saints in fresco, 
in the Media? val style, upon a gold ground. He 
was assisted by I. Schrandolph, Carl Koch, and 
J. B. Muller; and of these, excellent lithographs 
by J. G. Schreiner have appeared. The sub- 
jects are chiefly biblical, and comprise the leading 
incidents in the Old Testament and the Life of 
our Saviour. It may be justly asserted, that no 
church has been for centuries so harmoniously and 
consistently decorated. Its impression is most 
effective, and conducive to devotion. Whatever 
of well-grounded objection may exist or may be 
urged against the revival of a style of Art belong- 
ing to a period deprived of social interest from its 
remoteness while it wants the charm of antiquity, 
yet a principle which has so powerful an influ- 
ence on the feelings of every one must be ad- 
mitted to be legitimate in it9 nature, and has 
claims that we cannot disallow. 

In the Royal Palace, the Nibelungen Halls are 
important in the history of fresco painting. 
Julius Schnorr has in these rich compositions 
given further proof of the talent displayed at the 
Villa Massimi. The apartments of the King are 


decorated with paintings illustrating the Greek ; 
those of the Queen, with subjects from ancient 
and modern German poets; partly in encaustic 
and partly in fresco; all in intimate connexion 
with the architecture, and for which the sculptor, 
L. Schwanthaler, designed the compositions. 

In the Church of St. Lewis, the dramatic cha- 
racter of the three pictures painted by Cornelius 
is in powerful contrast with the calm symbolic 
composition of Hess in the All Saints’ Church. 
They occupy the entire end-wall of the choir ; so 
that in the centre, opposite the chief entrance, the 
4 Last Judgment* is in the larger space, and in the 
two side- walls the 4 Nativity’ and the 4 Cruci- 
fixion’ are represented. It is more especially the 
4 Lost Judgment,’ which for greatness of style, 
powerful conception, and skill of execution, sur- 
passes all that modern times has witnessed of the 
kind. True as it may be that the comparison of 
different works of Art has for the most part a 
tendency to injustice, yet we may venture, for the 
purpose of more convenient consideration, so* to 
examine the pictures painted by Hess in the All 
Saints* Church, and those executed by Cornelius 
in the church just mentioned, and without the 
risk of careless imputation, ask, with reference to 
the claims and wants of our times, which of these 
two great masters has struck out a style of 
church-decoration most in accordance with the 
present state of Art and of national refinement ? 
This merit, and without the least depreciation of 
the excellence of Hess, rests with Cornelius ; for 
an unprejudiced judgment must discern that a 
merely historical and for us long obsolete spirit 
prevails in the compositions of Hess, which, since 
it cannot be founded upon the opinions and 
habits of the present, must be artificially de- 
rived from a remote period, or the relation of 
facts and sympathies peculiar to that period; 
by which reflex action of the artist’s mind a style 
necessarily esoteric in its character is formed ; 
and which can only endure, by the regression 
of general thought and feeling to the era of its 
first principles and source. For after the vulgar 
love of disputation had been gratified by the dis- 
cussion of the question, of the personal beauty 
of our Saviour; — the fear of imparting to pic- 
tures a dramatic character which might lower 
to the unrefined imagi nation, the indefinite to 
the finite, the Deity to man ; — the dread, more- 
over, by ideal treatment of the form of Scriptu- 
ral personages to awaken the dormant idolatry 
which the expressive beauty of Greek Art had 
at first systemized, if not created; induced the 
early fathers of the church to encourage, and 
painters to adopt a style at first allegorical, then 
symbolical, which, while it gave to Art a Chris- 
tian character, yet freed it from the influence of 
former principles, and placed it beyond the pre- 
valent ebullitions of ignorance and superstition. 
Apart from technical treatment, therefore, the 
merits of Hess and Cornelius, must be considered 
with respect to the correctness of opinion on the 
relative excellence of the Christian form of Art. 
In this then may consist the inequality of Hess, 
for jmbued as an artist may be with the con- 
ceptions of the past, adroitly capable of their 
adaptation to the present, the result must ever be 
en adjustment, — an accommodation possessing, 
indeed, all the attributes of genius, but deprived 
of that free, sound, vigorous, natural grow th, so 
remarkable in the compositions of Cornelius. 
Yet in a period which has the misfortune of being 
a kind of herbarium vivum for all kinds of plants 
and of all times, the adoption of a refined digni- 
fied, though antiquated style of Art, such as Hess 
with so much feeling has restored, however op- 
posed to our present modifications of opinion, 
must be appreciated by the educated ; and can 
only, by the uninstructed, be despised. It is a 
splendid anachronism of Art. 

For the cupolas and lunettes of the twenty- 
five arcades along the south side of the Pinako- 
thek, Cornelius prepared a series of particularly 
fine designs, representing the most interesting 
periods in the lives of eminent Italian and Dutch 


iyVj\JUvTv 


42 


THE ART-UNION. 


[March, 


painters, from Cimabue to Rubens; the execu- 
tion of which was enstrusted to Professor Zim- 
mermann. He further contributed the designs for 
the frescoes of the Isarthor, which was restored 
by Professor Gartner. Upon a frieze seventy - 
five feet long, upon the eastern side, is repre- 
sented the 4 Entry of King Lewis of Bavaria,’ 
after the battle of Amflng ; and upon the other 
side, looking towards the city, the 4 Adoration of 
the Kings.’ Bernhard Nelier, by the masterly 
execution of these paintings, obtained a great re- 
putation ; owing to which he was invited to Wei- 
mar, where he is now occupied in decorating 
many rooms of the Ducal Palace. 

In landscape also, considered as an indepen- 
dent art, fresco has attained an unexpected ex- 
cellence, through the genius of Karl Rottmann. 
To him we owe a series of the most interesting 
views in Italy, Sicily, and Greece; which are 
placed, after the compositions from the 44 History 
of the House of Bavaria,” in the arcades of the 
HAfgarten. These incomparable works prove in 
a striking manner, what, even within such nar- 
row means as fresco commands, genius is capa- 
ble of effecting. Together with great breadth of 
composition, they breathe such a freshness, a 
magic of light and colour, that even from the 
best period of the Art we can select nothing of 
the kind to be placed with them in legitimate 
comparison. Notwithstanding the many tech- 
nical difficulties which fresco presents, in parti- 
cular to the landscape painter, the treatment of 
these pictures in so light, so masterly, that the 
mere spectator is ignorant of the practised skill 
that is displayed. But it is not by this technical 
treatment alone that Rottmann stands so high as 
a fresco-painter. Still more must we admire the 
highly-poetic education of his mind, and his 
artistical power of arrangement. It is only by 
such means that landscapes which present parti- 
cular scenes, or portrait landscapes, can become 
true works of Art; while, on the other hand, 
mere mechanically-copied views possess no other 
interest than could attach to landscapes reflected 
in a glass. The original thought, the graceful 
feeling, of a mind imbued with the perception of 
the beautiful, and the expression of its concep- 
tions in compositions appropriate, as well as be- 
comingly treated with regard to design and 
colour, are what we desire in works of Art. 
These form their essence, their inward life; if 
deficient, 

44 We start, for soul is wanting there,” 
and we have at most but to admire the me- 
chanical dexterity they display. Easy as it is 
to fail in landscapes of this kind, yet Rottmann 
has solved the problem of possible success , by the 
resources of so powerful a mind, that every pic- 
ture, by its calmly satisfying truth, possesses all 
the charms of an harmonious poem. With re- 
spect to the distribution of light and shade, this 
great artist has adopted a style perfectly original 
as regards fresco landscapes, by avoiding as much 
as possible all large masses of shade in the fore- 
ground, and placing them more in the distant 
portions of the picture ; in consequence of which, 
the various tones required are quite attainable in 
fresco, and have sufficient depth and transparency 
for their situation. 

The great hall of the University of Bonn is de- 
corated with fresco-paintings, representing the 
four faculties. Of these, Hermann designed 
Theology, and completed it with the help of 
Gotzenberger and Ernst Forster; Gbtzenberger 
undertook and painted Jurisprudence, Philo- 
sophy, and subsequently Medicine. But excel- 
lent, and in strict accordance as these are with 
the principles of fresco-painting, they are inferior 
to the Theology of Hermann. Stunner and H. 
Miicke have painted, in the house of the Count 
Von Spee at Helsdorf, pictures representing inci- 
dents in the life of Frederick Barbarossa, of which 
the 4 Submission of the Milanese’ is particularly 
deserving of praise. If Miicke may be justly 
censured for the employment of too deep a tone 
of colour, by which fresco Is entirely deprived of 


its peculiar attribute, light , yet we must admit 
that these compositions evince how neraly it can 
approach to oil-painting in power of effect. 

At the request of the Baron de Furstenberg- 
Stammheim, C. Deger has commenced the archi- 
tectural decoration of the Church of St. Appolli- 
naris at Remagen ; and in addition to the five 
pictures on subjects illustrative of Goethe’s poems, 
by Professor Peschel, of Dresden, in the hall of 
the Belvedere, at Dittersbach on the Elbe, and 
the paintings in the mansion once belonging to 
the Hartel family, now to that of Leplay, at 
Leipzig, by the same artist and Preller, there are 
many by Vogel in the Castle Chapel at Pillnitz. 
A most extensive work at the Royal Castle of 
Dresden now occupies the attention of Bende- 
mann; and, to judge from the cartoons, some- 
thing of great power, and which may confer 
honour on the school of Diisseldorff in its peculiar 
style, and on this its most distinguished pupil, 
may be expected. 

At the royal villa of Rosenstein, near Stuttgart, 
Anthony Gegenbauer has decorated a great hall, 
and its dome, with frescoes, from the story of 
Psyche. Gegenbauer has also made very success- 
ful attempts at Rome in covering canvass tightly 
stretched , with a mortar composed of lime and 
gypsum, and then painting on it in fresco ; so 
that by these means he has succeeded in produc- 
ing removable pictures, among others, Cupid and 
Psyche, Hercules and Omphale, remarkable for 
the extreme delicacy of their handling and colour. 
He speaks in high terms of the advantages af- 
forded by this method; as the artist is enabled, 
by damping the back of the canvass, and con- 
sequently the mortar which forms the ground of 
the picture, to paint, not only two but probably 
three days on the same portion of the work. In 
the hall of the Stiidel Institute, at Frankfurt-am- 
Main, Veith has executed a large fresco represent- 
ing, in two allegorical pictures (Italy and Ger- 
many), the introduction of Christianity into the 
latter country, the consequent moral improve- 
ment and progress of civilization. The compo- 
sition of the principal figure is powerfully con- 
ceived ; the various groups are well arranged ; 
they are significant, and give the most full and 
harmonious completion to the design. 

The best examples of Italian painting may be 
limited to the paintings of Camuccini, Bcnvenuti, 
Bezzuoli, and Sabatelli. Camuccini is of artists, 
the most opposed to innovation; yet he exhibits 
very strikingly the difference between an original 
and an imitative talent. From youth Michael 
Angelo and Raffaelle have been his study, but 
in technical treatment he has profited by the 
instructions of his uncle. He has copied much 
from the old masters, and always with clearness 
and intelligence ; and has caught in an admirable 
manner the elevated style of Michael Angelo. 
But his works bear the stamp of the French 
school ; there is a tendency in them to theatri- 
cal effect; his personages appear less indivi- 
duals really suffering, or expressing natural emo- 
tion, than as characters dressed, arranged in ap- 
propriate situations, and then displayed upon the 
scene. He has painted in fresco, 4 The Almighty 
borne by Angels,’ &c. Great skill in arrange- 
ment and delicate perception of colour are re- 
markable in Bcnvenuti. This may be seen in his 
frescoes, in the Sala d’Ereole at the Palace Pitti, 
the subjects of which are taken from the fable of 
Hercules. He was here assisted by Professor 
Cacialli. But it is by his altar-pieces, in parti- 
cular by his frescoes at San Lorenzo, that he 
must be judged. His figures are natural and 
life-like, they are truly conceived, and endowed 
with much force of expression. He has repre- 
sented at San Lorenzo, 4 The Creation and the Fall 
of Man,’ the Death of Abel,’ und the 4 Sacrifice of 
Noah.’ From the New Testament, 4 the Birth of 
Christ,’ the 4 Passion,’ the 4 Resurrection,’ and the 
4 Last Judgment.’ After Bcnvenuti, Bezzuoli 
must be noticed, who has exhibited great ability 
I in drawing and the technical portion of Art. It 
' is to him the Grand Duke entrusted the fres- 


coes in the Stanza di Tito, of the Palace Pitti. 
Cesar Massimi has decorated a private house ; and 
Morrelli, the Villa Demidoff with frescoes ; Ade- 
mello hais been also employed. It is said that his 
facility in composition and execution is so great, 
that he can design and finish his works, almost as 
the mason applies the plaster to the wall — a 
story which the wall would very probably refute. 
Rudolfl has restored, amongst others, the fres- 
coes of Amico Aspertini, the pupil of Francia, in 
the chapel of St. Augustin, of the church of 8t 
Frediano at Lucca, the state of which had been 
long a subject of regret, and has executed this 
task with so much skill that the most practised 
eye may fail in discovering the places he has 
touched. Appiani, who died in 1817, has 
executed many important works at the Imperial 
Palace of Milan they represent incidents in the 
life of Napoleon; there are also others by him 
representing the four Evangelists, Ac. Professor 
Sabatelli has also decorated the Palace Pitti 
with subjects taken from the Iliad ; these were 
in part finished by Marinelli and Pampaloni. 
Bellosi has been commissioned to paint some 
important works for the King of Sardinia. 
The ceiling in the great hall of the Casino No- 
bile has been painted by him. Santi, who for 
many years was chiefly occupied in the restora- 
tion of pictures, has lately devoted his attention 
to fresco-painting. His ceiling in the church of 
St. Luke is a composition rich in figures, but 
reflective in a great degree of Camuccini and 
Bevenuti. In France, where, strictly speaking, 
the grander style of Art which has here occupied 
our attention has never flourished, no remark- 
able compositions can be cited among produc- 
tions of recent times. For the works referrible 
to the style we have mentioned have been partly 
executed in oil, and partly in wax-colours ; and 
how incompatible such processes are with the 
true principle of monumental mural painting, as 
before defined, is proved by the results in the 
Louvre, the Pantheon, and now in the church of 
La Madeleine. 

Such is the outline of the history and process 
of fresco-painting. It has been already stated 
upon what principles it rests. It i9 now desir- 
able to consider to what purpose it is applicable, 
what it designs, what it can effect. But it is 
not desirable to enter into the warfare of opinion 
as to the relative employment of fresco or oil, 

and for this reason ; that it is not desirable to 

compare them, as neither could, in all cases, be 
assimilated with or substituted for the other. 

• Facies non omnibus una 

Nec diverea tamen ; qualem decet esse Sororem. 

Fresco-painting is particularly adapted for 
designs upon a large scale; it is eminently 
historical. It seeks to record the moral dignity, 
the acts of mercy, the mysterious dispensations, 
the hopes, the triumphs, and the future awards of 
Religion, and to perpetuate the individual eleva- 
tion, the national greatness, the intellectual con- 
dition and honourable rewards of Man. It was 
the opinion of Michael Angelo, that painting In 
oil was unworthy of a great mind : if he said 
this, it was probably because he felt fresco-paint- 
ing to be the expressive form of a great thought. 
It was certainly better adapted to the elevated 
character of his compositions, which required a 
simple and solid arrangement of colour; rather 
subdued than enlivened, and producing a grand 
and impressive effect, by their architectural 
combination. The excellence of fresco-painting 
must essentially depend upon the creative power 
of the mind. To think in little, if the phrase 
may be used, would be as useful here as to war 
in little. It is therefore adapted for the Palace, 
the Senate-house, the tribunal of Justice, and the 
Temple. But it is not intended, by stating the 
particular aim of fresco, to lower in any manner 
the importance of oil-painting. It is besides im- 
possible. Has the 4 Last Judgment’ of M. Angelo 
obscured the beauty, or diminished the greatness 
of the 4 Transfiguration ?’ 

Fresco is adapted to represent, with force and 


Digitized by jugie 



1842 .] 


THE ART-UNION 


43 


beauty, a great idea ; it is not so well adapted to 
reproduce the scenes of nature, or to depict the 
affections, the feelings, and the ties of social life. 
The chefs-d’ oeuvres of painting are in oil — the 
grandest compositions are in fresco. The domain 
of the latter is truth and ideal greatness ; that of 
the former, imagination, imitation, feeling. An 
oil-painting pleases at once, and independently ; 
fresco, when combined, or in connexion with 
architecture. It is an idle task to trace distinc- 
tion for the purpose of depreciation. Painting, 
sculpture, and architecture, are but various modes 
of expressing the beautiful in thought and form. 

“ Omnes artes quae ad humanitatcm pertinent, 
habent quodam commune vinculum, et quasi 
cognatione inter ee continentur this was the 
opinion of Cicero. 

But all questions are merged in the importance 
of the employments of fresco-painting, as indica- 
tive of the encouragement of British Art. Reli- 
gion and the state are the proper guardians of the 
Fine Arts. The connexion that exists between 
the beautiful, the true and good, between the in- 
ternal conception of their existence as abstract 
qualities, and their expressed external form ; by 
the constant contemplation of which, the mind 
becomes elevated, thought educated, and taste 
refined; give to the Fine Arts a particular in- 
fluence with reference to public instruction and 
manners. A people amongst whom, the internal 
perception of order, symmetry, beauty, and accu- 
rate design is nourished and perfected, is doubt- 
less {general education in proportion ), more in- 
clined to correctness in judgment, less disposed to 
the variable in thought and feeling, more advanced, 
and more disposed to progress in refinement than a 
nation deprived of this resource. The idea of order, 
regularity, and perfection, cannot long rest on any 
subject without extending its influence to others ; 
there has been, there could not exist, a cultured 
taste and a brutalized understanding; for now, 
idea is extended by idea, as water, by apparent 
pressure, is expanded in successive circles. And 
to philosophical investigation there appears a 
greater connexion than is generally admitted be- 
tween the power of the mind, which is enabled to 
trace and to appreciate the beauty of a statue 
and the wisdom of a law; between the science dis- 
played in a machine, and the knowledge exhi- 
bited in a book ; and between the merits of a 
legislator, an orator, a painter, or a poet. 

It has been remarked, that the Fine Arts have 
attained their utmost point of excellence in 
countries the most corrupt. It is true: they 
existed despite of that corruption ; and without 
their influence would the Pantheism, the sceptical 
philosophy of the ancients, or the ever varying 
dogmas of a later period, alone have saved or re- 
claimed mankind from degradation ? If the Fine 
Arts fix the attention of man, by their elevated 
conceptions they refine him ; if they record great 
actions, they possess a moral influence, and, by 
its dignified expression, they instruct him ; and 
if they pourtray the character and the truths of 
religion, they remind him, that whatever the 
extent or power of the wisdom of earth, its direc- 
tion, development, and intellectual perfection is 
of heaven. 

By what do men seek to awaken, nourish, and 
diffuse the love of glory 1 Is it not by sculpture, 
painting, and architecture ? Do they not make 
them the rewards of virtue, by employing them, 
to raise monuments destined to eternize the glory 
of that man who has deserved well of his country ? 
It is only by connecting the Fine Arts with great 
actions and great events, that the state can pro- 
mote or protect them ; they will otherwise become 
the handmaids of luxury, vanity, and pleasure; 
for by individuals the artist will be considered, 
and will in time subdue his genius to the consi- 
deration, that he is but destined to divert the 
great, flatter the opinion of the public, and re- 
lieve the ennui of the wealthy. He who rests on 
individual patronage, may live to confirm Dr. 
Johnson’s opinion of a patron. He may probably 
be enabled to refute it. He who trusts to public 


taste, must recollect on what that taste may turn. 
Taste is no less arbitrary than rare. Individual 
patronage, as patronage, is that of gold. This 
wa9 not the reward the Greek tendered to the 
painter, the warrior, or the poet. The legislators 
at least of that people felt that merit is not to be 
bribed, but honoured ; that the reward of the serf 
and slave should not be the same as that of the 
citizen who had distinguished, the hero who had 
defended his country ; they knew tliat he who 
seeks fame will not thirst for wealth, and that the 
true reward of genius is not increase of fortune 
but of public esteem. 

British artists struggle against difficulties un- 
known in other lands. Religion does not conse- 
crate the offerings of their gcniu9 by placing them 
within the precincts of her temples ; the legislator 
is palsied by the fear of their direct encourage- 
ment ; nor have they, as they merit, the advan- 
tage of public sympathy and support. Remove 
this barrier, and give them a field for exertion by 
liberal national patronage. Greatness is not of a 
clime, it depends upon the culture and the insti- 
tutions of a people. The British empire may be 
considered as the legacy of that of Rome. In a 
few years the English language will become the 
medium of communication throughout the great- 
est portion of the globe. Our arms and commerce 
have established a dominion in climes the most 
remote, the least frequented. Yet the Fine Arts, 
which every powerful nation has loved to protect, 
and slave or freemen to possess, have been by 
none so much neglected. They are not with 
us a social manifestation, the evidence of collec- 
tive refinement. We have not yet raised “the 
Atheist cry, there is no Art ; ” but we have not 
sought to give it a place in religion and national 
feeling. In ruins, and deprived of every kind of 
political power — yet we cannot diminish the great- 
ness of Athens or of Rome. Art has made them 
the historians of the past ; Art sheds around them 
a halo even in decay ; they are still impregnate 
with divinity : we read of them as the seats of 
war and civil strife ; and we view them still as the 
depositories of the intellectual refinement of man- 
kind. It is with them as with the memory of 
the illustrious dead ; thought passes away from 
the fitful history of their lives, and dwells with a 
feeling not unallied to veneration, on the record 
of their acts of virtue. 

Rome which won the world by arms, Rome 
masters its spirit by her intellectual power : 

“ there, as though 

Grandeur attracted grandeur, are beheld 
All things that strike, ennoble — from the depths 
Of Egypt, from the classic fields of Greece. 

Her groves, her temples,— all things that inspire 
Wonder, delight. 

******* 

And not a breath, but from the ground sends up 
Something of human grandeur.” 

And cannot England be as Rome? Great and 
extensive as are our possessions, the ability to 
defend, fully equal to the valour by which they 
have been won, the empire of Britain can exist but 
by that ; before which successive monarchies, the 
mightiest warriors and nations guided by the 
greatest statesmen, have been swept, as the storm- 
raised sand dust of the desert — Opinion. This, 
it should be our duty to create, concentrate, 
direct : supremacy should not be an attribute of 
war, but the reward of civilization, if we retain or 
yield the dominion of the world, yet alike in 
glory or decay, every nation should bless our in- 
fluence, still turn to us, even as wc have turned, as 
pilgrims of the genius of Athens and of Rome, 
and in the graceful imagery of Buchanan, hail us 
as the evidence of the intellectual condition of the 
past, and no less the harbinger of the cultured 
advancement of the future. 

Salve fugacis gloria seculi, 

Salve secunda digna dies nota 
Salve vetusta? vita* imago 
Et specimen venientis aevi. 

Feb. 17. Yours, &c., S. R. H. 


ART APPLIED TO MANUFACTURES. 

No. II. 

EDUCATION OF THE ARTISAN — STUDY OF FORM 
AND PROPORTION-METHODS OF TEACHING 
DRAWING — DRAWING CLASSES AT EXETER 
HALL. 

The arts of design are based on the science 
of form and proportion : the effect of coloors 
on the eye is so vivid, that any discordance 
is immediately obvious, and suggests a correc- 
tion of the inharmonious combination; but the 
deviations from the graceful in form and propor- 
tion that produce unpleasing shapes, are so slight 
as to be perceptible only to the cultivated eye, and 
remediable only by the practised hand. The im- 
ortance of a scientific understanding of abstract 
eauty in form and proportion, not merely a ge- 
neral acquaintance with examples or types of 
beautiful shapes, is therefore apparent; and this 
can only be acquired thoroughly with the aid of^ 
the pencil. AU combinations of form resolve* 
themselves into lines, and the power of delineat- 
ing is concurrent with the ability to follow them ; 
at least the manual dexterity constitutes so small 
a share compared with scientific perception, that 
the intellectual process may be said to include 
practical skill, just as the study of language in- 
cludes the power of forming letters. Writing as- 
sists the definition and memory of ideas conveyed 
by words ; drawing does the same for ideas ex- 
pressed in form. It depends upon the method of 
teaching, however, whether drawing be confined 
to the power of copying lines correctly, or be made 
the means of exercising the mind, and confirming 
the understanding in the appreciation of the cha- 
racteristics of form. Hitherto drawing has been 
too exclusively considered as an executive art, 
to be taught separately from, if not independently 
of intellectual investigation, and its practice has 
become in consequence empirical ; students have 
been taught to copy what was before them me- 
chanically, without well knowing what they were 
imitating ; just as the Chinese make a thing, the 
use of which they are ignorant of, with all the 
flaws in the pattern. This is evidently a bad 
practice ; for, in proportion to the intelligence of 
the artist, will be the spirit of his copy. Place a 
drawing made by a person thoroughly acquainted 
with the object delineated, by the side of another 
made by one who knew it by sight only, and the 
superiority of that produced by the intelligent 
draughtsman will be evident at a glance to 
every one conversant with the original. It is the 
artist’s deficiency in knowledge of the subject he 
has delineated, that renders scientific judges so 
often dissatisfied with pictures and drawings that 
are pleasing to the eye. regarded merely for their 
execution and pictorial effect. The peculiar cha- 
racter of ornaments and other artificial produc- 
tions are as distinctly visible to all who understand 
them, as the generic characteristics of objects in 
nature are to the naturalist ; and as the artisan is 
called upon not only to copy but invent, his know- 
ledge of the characteristics of what he imitates 
ought to be complete. It may be said, teach him 
to draw first, and he will be better able to under- 
stand after having become familiar with the forms. 
This reasoning is specious, but unsound : it is 
not only assuming that to acquire the power of 
drawing is more difficult than it really is, but 
actually tends to make it so. When the ob- 
ject to be represented is thoroughly understood, 
and the way to set about delineating it is known, 
the mere act of drawing the lines is simple and 
almost mechanical. The writer may be allowed to 
state the arguments in support of this position in 
his own words, taken from the introduction to a 
little pamphlet on the subject.* 

“ The eye is the camera obscura of the brain : the 
external lens is the object-glass receiving the rays of 
light, and transmitting the luminous image on to the 
retina; when thus depicted on the tablet in the visual 
chamber, it becomes the property of the mind : if the 
brain chooses to retain it, well; if not, another picture 
painted with the pencil of light momentarily succeeds, 
and effaces the transient impression ; and so the deli- 
cate and beautiful mechanism of sight continues to 
perform its delightful office of presenting to the brain 
an endless aud rapid succession of ever-varying scenes 
and objects, with unerring fidelity and unceasing ac- 
tivity ; unless the organ be impaired by disease. The 
common phrases, * a quick eye,’ 1 an accurate eye,* 

* Elements of Perspective Drawing ; or the Science 
of Delineating Real Objects.— Taylor and Walton. 


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44 


THE ART-UNION 


[March, 


are apt to mislead: every eye in a healthy sta|e is 

a sick and accurate. It is the understanding that is 
ow and imperfect; imperfect, because it does not 
take the time and pains requisite completely to com- 
prehend the characteristic features of the image formed 
on the retina : upon the degree of attention bestowed 
on these evanescent pictures depend the perfectness 
and durability of the ideas of external things with 
which the memory is stored, the understanding en- 
riched, and the fancy enlivened. The intellectual ope- 
ration may be likened to the chemical process by 
which the photographic pictures are rendered perma- 
nent : it is this which resolves the fleeting visions of 
the outward sense into distinct and lasting ideas of the 
mind. In default of this mental process, too many of 
Our fellow-creatures go through life almost insensible 
to the sources of enjoyment continually presented to 
them: having eyes, they see not; or, 4 seeing, they 
see t and do not perceive:* 4 their eyes are open, but 
their sense is shut.* The image painted on the retina 
of the merest dolt, that ever gazed on a beautiful 
prospect, is as vivid as that presented to the painter or 
the poet; the intellectual comprehension and appro- 
priation make the difference. Hence it is evident that 
vividness and correctness of perception depend upon 
•the understanding; and the training, or education of 
the eye, means the discipline of the mind in relation to 
ocular perceptions. 

“ A knowledge of the laws of perspective, by means 
of which the appearances of solid forms are delineated 
on paper, so as to convey a correct idea of the realities, 
is clearly an operation of the mind. Thus the first and 
all-important principle of drawing— namely, that the 
scibncb of form is dependant upon the proper exer- 
cise of the understanding — is demonstrated. 

44 We now come to the consideration of the art of 
dklineation, in which the powers of the hand come 
into operation. And truly the hand is as docile and 
apt a member as the eye, when it is properly directed 
by the mind : though, unlike the eye, it only acts when 
told, and therefore requires practice in order to per- 


his eye fixed all the while on one point in the glittering 
circle described by the revolving balls, can doubt the 
aptitude of the hand in obeying the mind as directed 
by the eye? If another proof be required, it is sup- 
plied by the familiar instance of the cutting out of 
profiles in paper : the profilist fixes his eye upon 
the face, while his baud directs the scissors almost 
mechanically, only requiring a glance to verify the 
correctness; or rather, perhaps, to ascertain that 
the relative position or the different features is cor- 
rect. The influence of the mind in the act of de- 
lineation is strikingly shown by the phenomena (if the 
term may be allowed) of silhouettes. It is a singu- 
lar fact that, readily as a black profile is cut in paper 
from the life, it is extremely difficult to copy it with a 


approximation to likeness conveys an impressioti of 
identity ; yet the most minute deviation from the out- 
line of the silhouette in copying it with the pencil is 
fatal to the similitude, because m so slender an indi- 
cation not a trace can be dispensed with. What makes 
it so difficult for the eye and hand to follow the con- 
tour of the silhouette, is that the shadowy image pre- 
sents so little for the understanding to master ; and 
the hand, therefore, with great difficulty follows the 
course of the eye, not being sufficiently influenced by 
the understanding. 

44 Any one who has looked over an accomplished 
artist sketching from nature, will have observed that 
his eye ia directed much more attentively to the 
scene or object before him than to his paper ; he 
looks to his drawing chiefly to ascertain tnat each 
successive line he traces is properly placed relatively 
to those previously drawn, and to put in finishing 
strokes. He has taught his hand to obey him in- 
stinctively. So entirely is the perception of form de- 
pendant on the understanding, that if the difficulty of 
placing the several lines in their proper relative posi- 
tions could be got over, a blind man might be taught 
to draw a solid object, whose shape he could ascertain 
by the touch. 

44 Having arrived at the fact that the sense of vision 
may be dispensed with in the perception of form by the 
mind, it remains to try if the understanding can be 
set aside, leaving the eye alone to direct the hand. 
A cube, or square box, may be so placed before the 
eye that only one side is presented to view j and sup- 
posing the mind to have no cognisance of its real 
shape, nor any means of ascertaining it, the delinea- 
tion of its apparent form would not convey an idea of 
the reality: tne same may be said of a cylinder so 
fore-shortened that only one end is visible. As the eye 
can only receive an impression from one side of any 
object at a time, a second view of it, or the evidence 
of the touch, is requisite to inform the. mind of its 
actual shape and size. 

44 Suppose that an accomplished artist were to see in 
a foreign country some strange object, with the nature 
and use of which he was ignorant: that it was not 
within reach of his hand, and did not afford him 
another view flrom a different point : if he were to de- 
lineate the apparent form ever so correctly, lie would 
fail to convey a distinct idea of the reality either to one 
acquainted with ita true shape, or to another who was 


not. The truth is, that the artist depicts not the ob- 
ject or scene itself, but the idea of it in his own mind ; 
and whether that idea is complete and accurate, or 
not. depends upon the clearness and perfectness of his 
understanding.’* 

The next question to be considered is the proper 
method of teaching drawing ; and in determining 
this, the reasoning before adduced will have great 
influence. According to the foregoing arguments, 
that course will be the best which exercises the 
mind most, thus bringing the aid of the under- 
standing to test the clearness of the perception, 
and to direct the hand ; therefore, that which re- 
quires a complete knowledge of what is to be 
copied, and leaves least room for merely mechani- 
cal labour, will be the proper method. These 
conditions are complied with by using solid forms 
as models for the learner ; for to copy these re- 
quires a perfect acquaintance with the object pre- 
vious to beginning to draw it, an attentive consi- 
deration of its entire shape and the proportions 
of its various parts in relation to each other during 
the progress of delineation, and a knowledge of 
the rules for representing on a flat surface the 
appearance of a solid substance. In copying the 
drawing of another the eye and the hand of the 
learner are exercised, but his mind scarcely 
at all : the work of the understanding has been 
done by the artist who made the first draw- 
ing, and the pupil has only to imitate the lines 
mechanically; be is not required to know how 
the drawing before him was made, or whether 
it is correct or not ; he has but to copy line for 
line and touch for touch, Chinese fashion : set 
him to draw the real object itself and he will be at 
fault, because it is a solid form, and he knows not 
how to represent accurately the appearances of 
solidity ; in short this course will produce neat 
and dexterous line drawers and tint makers, but 
it will not make quick and accurate draughts- 
men. Yet this is the way that drawing has 
hitherto been taught in this country, and such is 
the plan pursued at the School of Design. But it 
may be urged that the beginner, especially if he be 
young, is required to do too much at once in setting 
him to copy solid forms, which demand so much 
knowledge and attention ; and that he ought first to 
learn to use the pencil freely, or at least to com- 
mand his hand so that it will follow the direction 
of his eye; indeed that it needs practice to be 
able to draw a right line. Suppose a pupil, who 
has never handled a pencil is set down with a 
sheet of paper or a black board before him, and 
required to draw a straight line in a particular di- 
rection ; it would not be more difficult for him to 
take as his model one edge of a solid or plane 
surface than to copy a line drawn upon the 
board or paper : and if instead of drawing three 
other lines in the same direction as the first, he 
were required to draw them from the other three 
edges of a square figure, plane or solid, the exer- 
cise of the intellect in measuring the distance of 
one line from another, and the relative direction 
of each in relation to the other, would make the 
task more interesting if more difficult ; and how 
much more the pupil would have done, how much 
further would he have advanced in making a 
square, than in drawing four parallel lines, having 
no meaning and representing no form. This 
practice of drawing simple rectilinear figures, of 
various shapes, and then curvilinear, gradually 
increasing in difficulty, should be continued till the 
pupil can draw a clear and firm line, with tolera- 
ble steadiness and precision ; and for this purpose 
geometrical plane forms, cut out of card-board or 
tin painted white are preferable to parts of 6olid 
figures ; because the imitation of the plane is 
perfect when the outline is drawn, and the relief 
of the plane surface and the mass of white cause 
the outlines to appear particularly distinct. At 
the first commencement it is desirable, that the 
pupil should have a base and perpendicular line 
drawn for him on the board to enable him to 
keep his figure square. In a class of children, 
which the writer experimented upon, he adopted 
this plan ; the first figure he setup was a right 
angled triangle, and the pupils were then required 
to mark off on the base line the width of the base 
of the triangle, and on the perpendicular its 
height ; they then drew a line from point to 
point on each side, and the figure was complete. 
The surprise and delight of the young learners 
at having achieved a complete figure at their first 
lesson was a most gratifying indication of their 


future progress, and the lively interest they took 
in pursuing the study. 

lip to this point tne superiority of the plan of 
copying from a palpable form instead of lines 
drawn on paper will, it is hoped, have been de- 
monstrated satisfactorily: we now come to the 
next step in the pupil’s progress, drawing from the 
solid form, previous to which a knowledge of the 
elements of the perspective is required. Perspec- 
tive, we regret to see, finds no place in the 
course of instruction at the Government School 
of Design, because there the pupils copy from 
drawings until they have attained dexterity 
enough to draw from casts empirically, that is, 
without knowing the principles on which the 
apparent forms of objects differ from their real 
forms. The importance of understanding per- 
spective, at least the first principles of the science, 
is obvious when we reflect that every thing that 
we see is viewed perspectively : the idea of teach- 
ing drawing without explaining to the pupil the 
laws which govern the appearance of objects to 
the eye, is so preposterous, that had not people 
been so long familiar with it in practice it would 
be scouted for its absurdity ; just as a tutor would 
be ridiculed who was to teach composition by set- 
ting his pupils to write out passages from Johnson, 
Addison, or Gibbon, without explaining the rules 
of grammatical construction. Perspective is made 
a bugbear to learners: the difficulty of learning 
perspective is not great ; though to make it appear 
easy to understand, requires an experienced 
teacher who is thoroughly versed in the elements 
of the science : its leading principles are few and 
simple, and once mastered are always retained : it 
is their application which is complex, and this ia 
more apparent than real. But if ever so difficult 
it is essential to be learned : it must be practised, 
whether the rules be known or not ; and it is 
surely not worth while, for the sake of avoiding a 
little trouble, to learn imperfectly the science on 
which the art of delineation is based, especially 
when an imperfect acquaintance with it causes 
frequent inaccuracies that the eye detects and is 
annoyed by, but the hand vainly endeavours to 
remedy ; while a thorough knowledge ensures ex- 
actitude without trouble. Mr. Dyce contends, 
that there is no need for artisans to study perspec- 
tive, because they are mostly required to draw 
patterns which have very little relief : but the 
simplest flower cannot be drawn without some 
knowledge of its rules. What objection is there to 
a complete acquaintance with it ? Superficial in- 
struction in elementary knowledge is like an un- 
settled foundation ; the higher the superstructure 
the greater its instability. 

The practice of teaching drawing from solid 
forms is becoming very general, both among 
private teachers and in public schools ; and a set 
of models designed for the use of families and 
schools, by Mr. Augustus Deacon, and published 
by Taylor and Walton, have been much approved 
of by teachers for this purpose. They consist of 
a number of solid pieces of simple geometrical 



Digitized by ^ jOOQie 







1842 .] 


THE ART-UNION, 


45 


forms contained in a box, and are so contrived as 
to be available for copying separately, and to re- 
present in combination a variety of objects, such 
as houses, castles, bridges, steps, crosses, &c. 
The foregoing figures are copied from some of 
the forms ; the size of the cube being six 
inches square, and the others in proportion. The 
sides are purposely left plain, the models being 
intended for elementary teaching ; but the groups 
suggest real objects sufficiently to supply the 
interest which association creates in the mind : 
see the following sketch taken from one group, 
with merely the addition of a few touches to indi- 
cate doors, windows, ground, water, and foliage. 
In this figure may be traced the cube, the 
parallellopiped, the octagonal pillar, the column 
and its conical cap, and the arches. This set of 
models being designed for home use and limited 
classes in schools, was made as small as pos- 
sible for the sake of portability; but the same 
forms might be made on a larger scale by a 
joiner, to adapt them to large classes in public 
schools ; in which case it is desirable that they 
should be painted white. 

Upon this subject we have entered at some 
length ; but it is necessary that we postpone, until 
next month, the publication of our remarks. 

w. s.w. 

THE ARTS IN CONTINENTAL STATES. 

ITALY. — Rome. — Paintings of Artists at 
Rome . — Yon Slsasser has painted a beautiful 
landscape, in which we see the palace of the 
Caesars, the Baths of Caracalla, the Campagna, 
and distant chain of mountains illuminated by the 
setting sun. It is destined for Berlin. In the 
great exhibition room in the 44 Porto del Popolo” 
is a large picture painted by P. Galiardo, intended 
for a North American church. The subject is 

* Vincenzo di Paola receiving deserted Orphans.’ 
It is a picture with many faults, but also many 
excellences. The Polish artist Kaniefte, who is 
here pensioned by the Czar of Russia, has just 
completed, according to a commission from the 
heir apparent of that empire, a picture, whose sub- 
ject is 4 The Recalling to Life the Widow of Naia’s 
Son.' It is easy to see that Raffaelle has been the 
model on which this young artist has formed him- 
aelf, by the simplicity and repose of the compo- 
sition : a true style in colouring also distinguishes 
this work. Podesti has finished his great picture 
of * The Judgment of Solomon,' painted by order 
of the King of Sardinia, to be placed in a court 
of justice. For this the picture is well adapted, 
and placed in a large hall will do no dishonour to 
the fame of Podesti. But there is much of the- 
atrical effect in the composition, and caprice in 
the costumes ; the execution both as to drawing 
and colouring is good. Ammerling has two very 
pretty pictures, 4 A Mother and Child,’ and a 

* Roman Girl playing on the Lute.’ A visit to 
his studio is also at present peculiarly interesting, 
because he possesses a collection ot portraits of 
the most distinguished living artists. The French 
artist, M. Chevendier, exhibits a picture of 4 Pea- 
sants returning home in a Cart drawn by Oxen.' 
The scene is in the Campagna. The picture is 
skilfully managed, but it has too much of that 
dark grey colouring which is seen in all the schools 
of which M. Ingres is the chief. 

FRANCE. — Paris. — Tomb of Napoleon. — Le 
National , LeSiecle , L y Uniters, and other French 
newspapers, announce that the Government and 
the King have finally ordered that the monument 
to Napoleon shall be executed according to the plan 
proposed by the committee of judges, as given in 
the last number of this journal. A crypt within 
the church of the Invalides, in which the tomb 
will be placed — an equestrian statue of Napoleon 
in the court near the entrance of the church. 
The artists to be employed are Messieurs Vis- 
conti and Marochetti ; the first for the architec- 
tural, the second for the sculptural part. 

L'Armtria Real , ou Collection des principals 
pieces duMusfe d y Artillerie de Madrid 44 Royal 
Armory;” or, a Collection of the principal pieces 
in the Museum of Artillery at Madrid. — Artists, 
archaeologists, and amateurs of curiosities will find 
this publication most interesting. The armour of 
the Cid, of Charles V., the Sword of Francis 1., 
of Isabella, of Cordova, the famous Shield of 
Paris, and a thousand other celebrated names and 


objects of Art which awAken reoollection* and 
are of much historical importance. The objects 
are perfectly well drawn by G. Sensi ; L. San- 
sonetti does the ornamental part ; Facsardo and 
other good artists are the engravers ; M. Jubinal 
writes a learned explanatory text in French. 

Lyons. — A Chinese Painter.— A. Chinese, who 
was present at the martyrdom of a Christian 
Missionary, was so struck with the firmness with 
which he died for his faith that he became himself 
a Christian. He made his way to Europe, went 
to Rome, and studied painting : he has been suc- 
cessful as an artist ; and there is now here in the 
church of St. Guillame a fine picture by his hand, 
well designed and strongly coloured. The’ subject 
is 4 The Death of the Christian Missionary,' to 
which he was a witness, and which changed his 
faith and his life. 

GERMANY.— Hamburgh.— Our New Ex- 
change, which has been building daring the last 
five years under the direction of the architect 
Wimmel, is now finished, and will be opened next 
month. The noble simplicity of this edifice ren- 
ders it one of the greatest ornaments of our city. 

Berlin. — The admiration of amateurs is at pre- 
sent directed to the “ Gemalde Galeriedes IContgli - 
chen Museums Berlin," edited by Mr. Simion, and 
dedicated to the King. This publication is a sort 
of sister to that of the Gallery of Dresden, its object 
being to make generally known the chef-d’oeuvres 
of every shool which exist in the Prussian Museum. 
The execution is in lithography, but with a degree 
of excellence wc have seldom seen equalled, cer- 
tainly never exceeded. The principal artists are em- 
ployed ; among these Haufstaengl, who so largely 
contributed to the success of the Dresden Gallery. 
The first number contains a magnificent litho- 

raphy of the famous portrait, by Titian, of his 

aughter 4 Lavinia.’ The force, the freshness, the 
gradual passage of the lights to the shadows is 
superb, and gives completely the character of the 
great Venetian master. Another picture litho- 
graphed is 4 Jesus, and St. John, a boy,’ by Ru- 
bens, truly charming; and there is a third, 1 Die 
Vaterlike Ermahimung,’ by G. Terburg. We 
believe the work will be a very successful one. 

Munich. — Swankhaler has received an order 
from the King of Bavaria for a great work — it is 
to be called the 4 Pantheon of Bavaria,’ and is to 
be placed on the hill of St. Theresa, near Munich. 
On the summit is to be placed a statue of Bavaria, 
fifty-nine feet in height, the lion on which she 
rests twenty-five. These are to be cast in bronze, 
and it is calculated they cannot be completed in 
less than seven years. Around, under open 
colonnades, are to stand the statues of the illus- 
trious men of Bavaria. 

RUSSIA. — St. Petersburgh. — Galvano - 
plastic. — To the prosecution of this discovery 
many of our artists have devoted themselves with 
great zeal, especially the celebrated medallist Tol- 
stoy, and the architect Hasenberger. The latter 
has just finished a copy of Rausch’s bust of the 
late King of Prussia, which leaves nothing to be 
desired. 

Smolensk. — There has been erected here, by 
Imperial command, a monument in memory of 
the battles of 1812. It is of cast iron in the By- 
zantine Gothic style, and is placed on the Parade 
Plaz, opposite the King’s bastion, which was 
the point where the battle raged most furiously on 
the 5th of August, 1812. The inauguration took 
place on the 5th of November. 

Warsaw. — On the 29th of November was 
consecrated the monument of cast iron which was 
erected by command of the Emperor of Russia to 
the memory of the seven Poles who fell in defence 
of the Russian power on the 29th of November, 
1830. The plan is that of the architect Corazzi, 
chosen from among ten competitors. The octa- 
gonal base is of native marble ; eight bronze lions 
support an iron pedestal, above which are four 
eagles of gilt bronze, their wings outspread ; a 
shield is on the breast of each, on which is in- 
scribed a map of Poland ; from the pedestal 
springs an obelisk of cast iron. The proportions 
given in German ells seem immense indeed : the 
octagonal marble base is 30 ells in diameter ; the 
pedestal 8j ells in height by 10 in diameter ; the 
obelisk 25 ells in height, 6 in diameter at the base, 
and 4 at the top. The iron and bronze were both 
cast in Warsaw. It is placed on the Saxon Plaz. ! 


THE SCOTTISH ART-UNION. 

[The determination of the Committee of the Scottish 
Art-Union to continue to purchase only, as prizes, the 
works of artists, natives of Scotland, has given rise to 
considerable dissatisfaction in this country ; we have 
received several communications on the subject, from 
which we select the following.] 

Sir,— O bserving in a recent number of your journal 
an advertisement from the Association for the pro- 
motion of the Fine Arts at Edinburgh, and being a 
member of the Art-Union of London, I am induced to 
offer a few observations thereon, that the comparative 
merits of both Associations, and their claims to sup- 
port, may fairly be laid before the public. 

The advertisement states that the “ Committee of 
Management are entrusted with power to purchase 
what may appear to them the most deserving works of 
Scottish Art.” The pictures thus selected by the com- 
mittee are then disposed of by lot; and a prize-holder 
may thus obtain a picture in that class of Art for which 
he may have no particular inclination, and of a size 
not convenient for bis purpose. 

In the Art-Union of London the prize-holder gets 
a money prize, with which he may go to any of the 
five exhibitions of London, i. e., the Royal Academy, 
the British Institution, the Society of British Artists, 
and the two Water Colour Exhibitions, and select for 
himself any works of Art to the amount of his prize. 
Or if it be inconvenient to avail himself of this, the 
committee offer their services in selecting for him a 
work of Art of any class he may name. In this Asso- 
ciation there is nothing exclusive— there is no con- 
dition made that the prize-holders shall be bound to 
select a work the production of an English artist. 

If the committee of the Edinburgh Art-Union are 
determined to make theirs a National Association, and 
to vaunt themselves upon the superior encouragement 
given to the Arts in the North, why not coniine their 
subscriptions to Scotland? As it is, their boasted 
sum of j? 6767 may be half contributed by English sub- 
scribers, and is no criterion of the growing taste for 
the Fine Arts in Scotland. 

I have no objection to the nationality of the Scotch : 
it is most gratifying to see the efforts of their country- 
men appreciated and encouraged by them. But Art is 
of no place ; Scottish Art can never be separated from 
English Art ; they should go haud in hand together. 

Considering that much Hliberality exists in the Scot- 
tish Association, both as to its plan and its efforts to 
obtain subscribers from the Art- Union of London, I 
am induced to request the insertion of this letter in 
your valuable journal. Yours, &c., 

A Member of the London Art-Union. 

[We are by no means disposed to pass any remark 
that may seem prejudicial to the interests of an Insti- 
tution having for its object the advancement of the 
Arts; but we feel imperatively called upon to offer 
some observations in reference to the injudicious, il- 
liberal, and dangerous policy which the Scottish So- 
ciety have adopted, and continue to pursue. It was, 
perhaps, not only justifiable, but wise, at the com- 
mencement of the Institution, to lay down a rule for 
the purchase only of works actually produced by artists , 
natives of Scotland; when the sum collected amounted 
to but a few hundred pounds, and it was gathered 
chiefly in Scotland, it was properly spent at home; 
divided among deserving men, and stimulating others 
to exertion. But now that the hundreds have become 
thousands, and that a vast proportion of the sub- 
scribers are procured in England and Ireland, the ex- 
clusive purchase of productions by Scottish artists is 
not only manifestly unjust, but highly detrimental to 
the true interests of Scotland. The Art-Unions of 
London and Dublin have not been ungenerous enough 
to retaliate, and exclude the works of Scottish artists 
from their prize lists; if they had done so we should 
have been the first to have raised our voices against a 
course so utterly unworthy ; for, to say nothing of its 
folly and illiberality, it would have kept away a picture 
by Wilkie from the possession of a London or Dublin 
prize-holder, as the system pursued in Edinburgh 
keeps away from a Scottish lover of Art a production 
by either Eastlake or Maclise; and so have tended, if 
not to the ruin of the Institution, most materially to 
have abridged its means , and so to have defeated its 
great purpose. 

We may hereafter enter into the statistics of these 
three Institutions— those of London, Edinburgh, and 
Dublin, with a view to show what portions of the 
monies collected have been received from persons not 
natives of the places in which the establishments have 
been formed ; and the number of pictures purchased 
by artists, natives of the three countries ; at present 
we content ourselves with protesting against the con- 
tinuance of the unwise, illiberal, and evil course pur- 
sued by the Scottish Societies. 

Patronage, like charity, should unquestionably begin 
at home; but, as certainly, it should not end there 



vzr 

o 


ipizi 



46 


THE ART-UNION, 


[MARCH; 


Above all things. Art should be considered as catholic 
in the truest sense of the term. We have never, our- 
selves, had the opportunity of examining an exhibition 
in Edinburgh ; but certain we are, that no one annual 
exhibition has ever contained good pictures by Scottish 
artists to the value of £6000 or .£7000 ; and we can 
have no doubt that the strong complaints from time to 
time forwarded to us, of the purchase, by the Art- 
Union Committee, of bad pictures, have arisen mainly 
from the fact, that the committee must spend yearly 
the whole of the sum subscribed, no matter how indif- 
ferent may be the article offered for sale. We know 
that this was the case at the exhibition in Dublin ; but, 
in that instance, the evil arose, not from any limitation 
of choice to artists of particular places of birth, but 
because there were not pictures of merit supplied for 
selection equal in value to the sum to be expended.* 

But even if the Scottish artists did supply pictures 
of merit fully equal in value to the amount subscribed, 
we should still contend that a portion of the 6um ought, 
in common justice— we had almost written in common 
honesty— to be divided among English and Irish ar- 
tists; not only because a large proportion of the sub- 
scriptions will have been raised in England and Ireland, 
but because the inevitable consequence of the existing 
system is to deteriorate Scottish Art, by making Scot- 
tish artists content with the achievement of medio- 
crity, knowing that they will be subjected to no compe- 
tition which can prevent the sale of their productions. 

If the present plan be continued for half a century 
longer, as surely as that we now write the sentence, 
Art in Scotland will become contemptible, and Scottish 
artists, who work in Scotland, a reproach to their 
country. 

But long before this affliction can arrive, the evil will 
have cured itself; for the thousands now subscribed 
will assuredly dwindle down, and become hundreds, 
tens, units, in proportion as the character of the works 
deteriorate ; the more especially as in other Societies, 
similarly constructed, there will be no such foolish and 
ungenerous restriction ; where the prize-gainer may 
not only select the production of an artist, without 
being first compelled to ascertain if he were born north 
or south of the Tweed, but may take the picture that 
exactly meets his taste, touches his feelings, awakes 
his sympathies, or satisfies his judgment. 

We earnestly hope, therefore, that the committee of 
the Scottish Art- Union will give this matter their very 
serious consideration ; and that we may ere long have 
the pleasure to announce that their most unwise and 
unjust law has been abrogated. 

We tell them, fairly and plainly, that if they resolve 
to retain it, the consequence can be no other than ruin- 
ous to their institution; that subscribers in England 
and Ireland will fall off very rapidly ; that no works of 
ability by English or Irish artists will be transmitted 
to Scotland ; and that they will do incalculable mischief 
to Scottish Art and Scottish artists.f] 


WORKS IN PROGRESS. 

THE PUBLICATIONS OP MESSRS. HENRY GRAVES 
AND CO. 

In no country has the art of engraving progressed so 
steadily and so rapidly as in our own. We occasionally 
meet with a superb continental production ; but for every 
such example we can point to a hundred of equal merit 
here. Thousands of impressions from plates of the 
most astonishing style of finish are yearly circulated— 
the copper is even worn out by service; yet, after a 
time, tney become rare, and we hear of them no more, 
save at intervals, in the portfolios of some deceased 
collector, whose acquisitions in this department of Art 
are to be sold by auction. The spirit with which the 
business of the publication of works of Art is now con- 
ducted, is unexampled. The very finest pictures are 
selected; large prices are given for copyrights; and the 
engraver receives for his labour a higher premium 
than has ever before been given. We this month de- 
vote a portion of our attention to the forthcoming pub- 
lications of Messrs. Henry Graves and Co.— the joint 
productions of talent of the highest order in painting 
and engraving. We feel ourselves bound to notice in 
this especial manner the productions of a firm to which 

* An evil that, we trust, will not again occur. The 
committee of the Royal Irish Art-Union will this year, 
in all probability, have between .£3000 and £4000 to 
expencL They must lay it all out ; and if good pictures 
be contributed by English and Scottish artists, they 
will certainly be purchased, although a preference will 
no doubt be given to the works of Irish artists, where 
they are of equal merit with those of artists of other 
parts of Great Britain. 

j- As we shall perhaps find it necessary to revert to 
this topic, it is only fair to state that we shall willingly 
insert any defence of the present system that may be 
forwarded to us. 


the public are indebted for some of the most exquisite less distinctly a benevolence that will not deny the 


prints that have recently appeared. This is a depart- 
ment of the art in which the public themselves have 
no voice; they are altogether in the hands of the pub- 
lisher, and must, for good engravings, rely upon his 
taste and judgment, qualities in which the firm in ques- 
tion sustain the hign reputation of their long-esta- 
blished house. As extended fame is the highest hope 


tion sustain the high reputation of their long-esta- 
blished house. As extended fame is the highest hope 
of the artist, he is indebted to the publisher for a great 
share of that which he may acquire : therefore, but for 


prisoner at the bar every legal advantage he may be 
entitled to. We would, for the sake of this admirable 
work, that the story had been somewhat less ambi- 
guous; and we hope, as the engraving advances, that 
the circumstances of the composition will be as ex- 
plicit as those of Mr. Landseer’s works usually are. 
The judge is a white poodle, with his head lost in a 
mass of hair, which, together with his depending 
ears, forms the most perfect resemblance of the 


the wide circulation given to his works by means of judicial head-costume that can be imagined. 


f iublication, his reputation would be comparatively 
imited. Among the works of this house which now 
call for notice, or rather enumeration, for we cannot 
yet do justice to their excellence in promise, is one 
illustrative of the most imposing ceremony of our con- 
stitution, and not less than six from the works of 
Landseer. 

Highland Whiskey Still. Painted by Edwin 
Landseer, R.A. Engraving by Robert Graves, A.R.A. 
— The original picture was one of the most admired of 
the Royal Academy Exhibition some years ago. There 
are five figures in the composition, the principal 
whereof is a highlander resting after the fatigues of the 
chase, and delivering his opinion of the “liquor” just 
drawn from the still. This engraving is in an advanced 
stage of finishing, and is elaborated in the most skilful 
style of line-engraving. The transparency of the 
shadows is wonderfully preserved, and the fleshy 
roundings of the limbs have been dealt with exactly 
after the spirit and feeling of Landseer’s works. 
The diversity of the composition involving objects and 
surfaces of qualities and appearances so various might 
have been supposed to present difficulties of no ordinary 
kind to the engraver; but Mr. Graves has succeeded in 
treating the principals and accessories of his plate in 
such a manner as to present them at once to the eye in 
the perfection of natural truth. 

Children and Rabbits. Painted by E. Land- 
seer, R.A. Engraving by Thomas landseer. The 
figures here are portraits of the children of the Hon. 
Seymour Bathurst ; and the plate will form a pendant 
to that containing the portraits of the children of the 
Duke of Sutherland. It is in mezzotinto, and in an 
advanced state: there is in the heads a delicacy of 
management, and, in other parts, a breadth of manner, 
both powerfully descriptive of the decided touch of 
the distinguished painter. 

The Widowed Duck. Painted by E. Landseer; 
engraving by John Burnet. The subject is the grief of 
a duck for the loss of her mate, that has been shot, 
and the expression has all the descriptive force of the 

} >ainter. The engraving is in mezzotinto, and is in a 
orward state. 

The Morning of the Chase.— Haddon Hall in 


the days of yore.— Painted by Frederick Tayler; en- 
graving by H. T. Ryall. The original is a very beautiful 
watpr-colonr drawing, desriptive of the return of a 
hunting party, and comprehending all the attributes 
which give effect to pictures representing scenes of a 
past time. The style of engraving is mezzotinto. 

Mr. and Mrs. Hawk. Painted by E. Landseer; 
and engraved by C. G. Lewis. Two companion en- 
gravings have received this title ; they are portraits of 
two hawks, wonderfully painted ; the heads of the birds 
are life itself. 

The Coronation, painted by Hayter, and en- 

6 raving by H. T. Ryall, is within a few months of 
eing finished. The importance of this engraving as a 
work of Art, and the interest of its subject in a his- 
torical and national point of view, render it one of the 
grand historical works of the present reign. It con- 
tains upwards of fifty portraits of the great and noble 
of the land, who surrounded the throne on the me- 
morable occasion it commemorates. A work of this 
consequence will not bear to be considered in a few 
lines,— even as reference to it in its unfinished state ; 
and we shall take an early opportunity of noticing it at 
length. 

Portrait of His Royal Highness Prince 
Albert, painted by George Patten, A.R.A., and in 
course of engraving by H.T. Ryall, is intended as a 
pendant to Chalon’s portrait of her Majesty. His 
Royal Highness is in tne full robes of the order of the 
Garter. 

The Duke of Beaufort’s Dogs; painted by 
Landseer; engraving by T. Landseer. The beautiful 
picture which supplies this engraving was exhibited 
about three years ago. Being in the very forte of Mr. 
Landseer’s style, it possesses all the advantages by 
which that style is distinguished. 

Lassie Herding Sheep. Painted by Edwin Land- 
seer, R.A. ; engraving by John Burnet, F.R.S. ; pub- 
lished by Henry Graves andCo.— This is a line engrav- 
ing to be finished in Mr. Burnet’s excellent manner. The 
“ lassie” is shoeless and bonnetless, precisely such a 
figure as is hourly met with, not only in the land of the 
Gael, but also in that of the northern Saxon. She is 
leaning;against a rock, spinning wool with the simplest 
of all machines— a reel. Many parts of the plate are 
still only in outline. 

« PUBLICATIONS OF MR. M’LKAN. 

Laying Down the Law. Painted by Edwin 
Landseer, R.A. ; engraving by Thomas Landseer. The 
subject is one after the painter's own heart— an assem- 
bly of dogs presided over by a “ grave and reverend” 
poodle, in whose countenance we read clearly— pa- 
tience, long suffering in the cause of justice, and not 


picture comprehends twelve or thirteen heads of 
bs many different species of the canine race ; and the 
expression given to each accords faithftilly with the 
known characters of the animals. Some eye the pri- 
soner with no very kindly aspect. Some are listening 
attentively to the judge’s charge, and others energeti- 
cally discussing the merits of the case. The plate it 
mezzotinto, and when finished will be one of tne most 
extraordinary productions ever offered to the public, 
suffering comparison with the works of none— not even 
of Landseer himself. 

Equestrian Portrait of Her Majesty. — 
Painted by F. Grant. Engraving by J. Thomson. 
This will be an exceedingly large print ; the style of 
work is mezzotinto, and the etching is in a state 
preparatory to finishing. Her Majesty is mounted 
on a grey horse, and accompanied by the Marquis 
Conyngham, Lords Melbourne and Uxbridge, the Hon. 
George S. Byng, Sir George Quentin, &c. The party 
are passing through an arch in Windsor Park ; and the 
foreground being an elevation, the Castle is seen at a 
distance over the tops of the trees which cover the 
lower grounds. Mr. Grant excels in the arrangement 
and grouping of his figures, an excellence which is 
particularly conspicuous here, for never have we seen 
any similar work more happily managed. The Queen 
and Lord Melbourne head the' party, and her Majesty, 
in the act of speaking to the Marquis Conyngham, 
turns her head, throwing aside at the same time her 
veil ; thus the portrait is a full face admirably shown 
by an arrangement which obviates the necessity of any 
foreshortening of the principal horses. This, when 
finished, promises to be a standard portrait of the 
Queen, the likeness in contour and expression being 
perfect. 


CORRESPONDENCE. 

THE ART UNION OF LONDON. 

TO THE EDITOR OF THE ART-UNION. 


n Si r,— The appointment of a sub-committee, to conai- 

j der the future prospects, and most efficient mode of 
tt applying the increasing income of the Art-Union of 
s London, speaks well for the intentions and determl- 
ft nation of the principal movers of that Association and 
it is very evident that the sub committee have pursued 
J the best of all courses in soliciting the suggestions 
J of the eminent artists to whom they have applied, 
g Their judgment has likewise been evinced in deferring 
for the present the final settlement of matters of such 
great importance. The Association must ere long be 
if so mixed up with the destiny of Art in this country, 

* that to determine hastily as to its future government, 
h would perhaps be creating some evil for which it might 
® prove very difficult to find a remedy. In the mean 
e time, I deem it to be the duty of every one who has any 
>. feeling for the prosperity of the Fine Arts in this coun- 
s try, to be on the alert, endeavouring, by all fair means 

* to strengthen such a national cause, amongst which 
» might be conspicuous a manifestation of bis own 

ideas on the subject, or a canvassing of the merits of 
R those offered by others, the object of all being the same : 
n no one could quarrel with another for finding out the 
a readiest mode of obtaining it : and surely if all the 
s artistic world convey their stores to the same market, 
e it will afford the best means (by comparison) of select- 
ing that which is of most value. 

X One cannot but feel satisfied with the greater por- 
Jj tion of the extracts in your former number, from the 
r . report of the sub-committee ; yet I must beg to offer 
y my doubts as to the policy of changing, as hinted at, 
one of the principal features of the Art-Union, viz., 

1* the right of the public to select their own prizes. Such 
>* an alteration affords, in my opinion, a fair subject for 
r " discussion; in fact, it may be presumed, from the 
a manner in which it is alluded to, that the advice of the 
ie many interested is sought for. The suggestion rnns 
is thus, “ Whether it might be desirable that one of these 
principal prizes should be selected, under the best 
e advice, by the committee.” This involves so many 
considerations, that it demands an entire attention, 
unmixed with baser matter. 1 therefore pass it by for 
n the present, with a declaration of my feeling, assured of 
^ two things : the first, that the committee had much 
>> better decline such an unthankfhl, onerous office, 
a- unless they can prove publicly (to avoid all sus- 
3t pi cions), that some real benefit will accrue to Art, 

r* ^ ~ \ . - 


igitized by VJUUVK 



THE ART-UNION 


47 


1842 .] 


artists, and the public from their exercising it ; the 
second, that every prize-holder will prefer choosing for 
himself, even though he became a sufferer thereby. 

The paucity of pictures from which the larger prize 
holders have been enabled to make their selection, has 
hitherto proved a great drawback to their good fortune : 
it is proposed to obviate this in future, and at the same 
time to advance high Art, by announcing at the 
annual meeting, some of the principal prizes, say 
s€400 or ^500 each, for the following year, which 
might induce a greater number of artists to paint pic- 
tures of that class than otherwise would. But this will 
not prove sufficient for securing to the subscribers all 
the advantages it is desirable they should have. It 
must be borne in mind, that the Royal Academy is the 
only one of the London Exhibitions which opens after 
the balloting for the prizes ; the other galleries may 
have been stripped of their best pictures ere the prize 
holder (particularly a country one), can turn his good 
luck to any good account : this is a sourced eserving 
of much consideration. No other means occur to me 
for its permanent removal, than fixing the day of draw- 
ing earlier in the year ; were this done, it is evident 
that the value of the prizes would be greater, from 
which one may fairly conclude that the number of 
subscribers would be augmented ; on the other hand, 
while it is suffered to remain, many will, as they do 
now, hesitate to join the Association, or at least, take 
objections to being left by the managers with the 
refuse of the galleries. 

Nothing in my opinion can be better than the idea of 
presenting, occasionally, first class pictures to some 
public Institution. Those legion-visited buildings, the 
National Gallery or the British Museum, would 
alone find good places for them for many years to 
come ; but might not the effort for elevating the minds 
and taste of the people be directed at the same time to 
the improvement of Art itself? Why not encourage 
artists to tempt the higher xcalkt, by offering a large 
premium annually for the best work, upon some subject 
given out the year before— the pictures to be exhibited 
with the Art-Union prizes ; it would not then be 
very difficult to find out “who was the best man?” 
Tbe trial of strength amongst the pupils at the Royal 
Academy is, as you are aware, conducted on this prin- 
ciple ; there even the size of the canvass scarcely ever 
varies ; this, indeed, is the true way of drawing out the 
talent and genius of the country; at least, could the 
experiment do any harm ? I think not. W hat pre- 
ferable feeling shall we kindle, and keep alive to an 
honourable emulation ; the hope of victory will some- 
times do more than patronage itself. 

Yours, &c., Vigilans. 


SCULPTURE IN GREAT BRITAIN. 

Sir,— T he thousands who visit our annual Exhibi- 
tion at the Royal Academy, and other galleries where 
sculpture forms, if not a principal, a large portion of 
the collections, are in total ignorance of the means by 
which such objects are produced. The general belief 
is, that the statue, or group, hewn without previous 
labour from the rough block, is completed at once by 
the sculptor, and that the greater the fiuish or smooth- 
ness that may decorate the work, the more talent is 
manifested and credit due; but with the artist and the 
edncated in Art, it is simply considered a mechanical 
termination, unworthy, in every respect, of consider- 
ation, unless applicable to a well-selected subject, well 
told, anJ with judgment drawn ; and even then, as a 
pleasing auxiliary only. Mind and sentiment are tbe 
chief; and though certain materials may be more 
pleasing to the eye, and, in many cases, enhance the 
general effect, still the work, without these requi- 
sites, would be, in place of Art, that of mechanical 
labour , With the multitude, nay, with many educated 
people, an impression exists, that the whole art of sta- 
tuary lies in the execution of the marble, a truth 
evinced by the manifest indifference which may be ob- 
served at our exhibitions for the plaster productions of 
genius, while trifles wrought in the more expensive 
material rivet attention, and draw forth expressions of 
the greatest admiration. Sculpture has not only been 
long a misunderstood, but a neglected, art. Let us 
visit the numerous galleries and exhibition-rooms of 
our own country, and we shall then obtain sufficient 
proof of the fact. Our Royal Academy, our British 
Institution , and the Suffolk-street Gallery, are all in- 
stances. The National Gallery, though hung through- 
out with pictures, boasts but one only specimen of 
tbe sister Art I At Manchester, Liverpool, and Bir- 
mingham— indeed, at all our provincial exhibitions— 
tbe accommodation for sculpture is totally neglected ; 


and though repeated premiums are offered for the en- 
couragement of painting, in no case has a correspond- 
ing feeling been evinced for the patronage of statuary. 
Let us visit Paris, and the same neglect becomes appa- 
rent. Windows, far beneath the many glorious works 
of antiquity which adorn the Louvre, destroy the mas- 
tery with which they are wrought; though, on pro- 
ceeding to other halls, we find every accommodation 
afforded for the exhibition of pictures. Milan, Bologna, 
and Florence are equally regardless of their statuary 
in respect to light ; and even (in many instances) the 
Eternal City, the mart of sculpture, is open to the 
same remark. The last slight which this noble art sus- 
tains remains untold. See our daily and our weekly 
papers, nay, our journals of Art and science — see the 
column after column noticing the productions of the 
pencil, and then the infantile paragraph, stating sim- 
ply that sculpture too is there. 

The first idea of the sculptor is traced either in clay 
or on paper ; a small and rough sketch of the subject 
he wishes to produce, in which he considers well his 
tale, and the best mode to convey it, the most agree- 
able position for his figures, and the general effect of 
the whole, totally neglecting every appearance of de- 
tail or smoothness. When this draught is completed 
agreeably to his wishes, he commences (with the assist- 
ance of his workmen) to pile up a mass of clay tbe size 
of the object to be pourtrayed, rendering it firm and 
steady by the addition of irons and framework, secured 
to the stand on which it rests; and on the careful 
completion of this— the model— depends the correct- 
ness and beauty of the marble. It is at this stage that 
the draught or original idea is reconsidered, copied, 
and, with the assistance of the human figure, more mi- 
nutely studied and carried on to completion. The 
moist nature of the clay renders some mode necessary 
for the preservation of the model during the progress of 
carving, or being copied in marble, and this is effected 
by moulding and casting, as follows:— The clay— for 
instance, a statue— is at first covered on the front half 
only, from the summit to the base, with a mixture of 
plaster and water, which is allowed to become hard, or 
set, previously to the remaining portion of the figure 
being covered, when the object is entirely coated, and 
the mould completed. A sufficient time having elapsed 
to render the mould firm, it is carefully removed in 
two parts from the clay, when an exact representation 
of the statue is shown in reverse. These, being tho- 
roughly cleansed, are placed securely together, and 
filled with plaster of a finer nature, and in turn an im- 
pression is taken of the mould; this being carefully 
cut away, leaves a cast, similar in every respect to the 
original model. The plaster cast is now placed in the 
hands of a mason, who by means of a machine proceeds 
with the pointing or roughing out. By this process 
the waste stone gradually diminishes, and the form 
daily becomes more and more apparent, until within 
an inch or lesR of its intended surface, when it is 
submitted to the chisel of the sculptor’s more able 
assistant, who carries it still nearer to the perfection 
of the model , and prepares it for the final touches of the 
master. Yours, &c., A Sculptor. 


LINES ON R. INNES’S PICTURE. 

In the Rooms of the Edinburgh Society 
qf Artists. 

He comes not through the lagging day, 

With faithful step and cheerful mien, 

To chide the heavy hours away, 

And happier make that humble scene ; 

No step is there, nor voice to stir 
The sleeping of the wearied cur. 

Unwelcome is the light of morn 

To eyes that fain would shun that light, 

And shrink from garish day, forlorn, 

As day were hateful to the sight. 

The spinning-wheel beside her stands 
Untouched by those unconscious hands. 

Ah ! yes— a father’s frown hath chased 
A lover’s presence from the door ; 

And by that sorrow gently traced, 

And eyes cast on the cottage floor, 

The painter’s tale is told ; for there ‘ 

Sits love in sot row— not despair. 

W. H. Cromk. 


THE PONIATOWSKI GEMS. 

The Poniatowski collection of gems has long been 
celebrated throughout Europe. It was tbe property 
originally of tbe Kings of Poland, in whose possession 
it was augmented by the acquisition of tbe rarest and 
most beautiful specimens. By inheritance the series 
descended to tbe late Prince Poniatowski, by whom 
every opportunity was embraced of adding to its in- 
terest ; insomuch that (ultimately) it was justly consi- 
dered the finest collection of modern times. While in 
the possession of its late proprietor, the cabinet was 
enriched with many choice specimens, obtained at a 
great expense from various parts of Europe ; and al- 
most the entire collection has become the property of 
John Tyrrel, Esq., who, with the view of benefiting 
Art, submits to the world proof impressions of these 
valuable antiques, which are now in course of publica- 
tion by Messrs. Graves and Co. The entire series 
amounts in number to upwards of 1300, whereof only 
343 have as yet appeared, constituting the “ first class.” 

Engraved gems are the only relics of ancient Art, 
that now exist in all the freshness and precision of 
execution with which they quitted the hands of the 
artist ; and to be assured that these are yet as perfect 
as when their various engravers pronounced them 
finished, it is only necessary to examine tbe clear im- 
pressions which they yield. For this perfect and unin- 
jured condition it is not difficult to account, since they 
are easily secured, and, from their size, may be guarded 
with care for any length of time ; while, on the other 
hand, perishable pictures, and statues of frail Greek 
and Italian marble, are exposed to every casualty ; 
hence, in their minutest details, they may be consulted 
for truth by the poet, historian, and artist ; for among 
them we find copies of many remarkable works of an- 
tiquity, of which we know, but for such copies, no 
more than the names. In them the ancients also cele- 
brated their religion, illustrated their history, and paid 
tributes of honour to the great and good. 

Gem engraving is an art of the highest antiquity; it 
was known and practised among the Egyptians and 
Jews. By the former engraved gema were not only 
prized for the value of the stone and the elaborate 
execution of the engraving, but they were worn as 
medals and marks of distinction for signal services in 
peace or war 

The Etruscans were the first Europeans who adopted 
the Arts of the Egyptians ; and much as the civilization 
of the Greeks is quoted, yet the Etruscans were in a 
state of advancement, while the Greeks were but 
gradually emerging from barbarism. From the 
Egyptians also did tbe last mentioned people acquire 
their taste for sculpture and engraving, which, toge- 
ther with a knowledge of mechanical execution, was all 
they borrowed to set on foot among them, that 
other mythology, tbe religion of sculpture. When the 
art of gem-engraving had attained in Greece to a con- 
siderable degree of excellence, their use as signet- 
rings and ornaments became very common. Greek 
art received its first grand impetus from the expulsion 
of the Persians : from this period, sculpture and gem 
engraving advanced rapidly to its ultimate perfection 
in the age of Alexander. 

Pyrgoteles was the most celebrated Greek en- 
graver ; he lived in tbe time of Alexander, and had 
alone the privilege of engraving resemblances of him, 
as Apelles, of all painters, bad that of painting him, 
and Lysippus of executing statues of him. According 
to Pliny, Apollonides and Cromias the elder, held the 
second rank. In the age of Pericles, Polygnotus, 
Mycon, Pamphilus, and Plotarcbus, were the most 
eminent; and in the time of Alexander the most fa- 
mous were Pyrgoteles Action, Apollonides, Solon, Sos- 
tratus, and Cromius. 

After the Romans had conquered Etruria, a taste 
arose among them for engraved gems, but they first 
employed them as distinctive of rank and merit: for 
instance, a plebeian was constituted of the equestrian 
order by tbe gift of a ring; and if a Roman of patri- 
cian rank disgraced himself and his order, he was de- 
graded by being deprived of his ring. The use of 
gems and gem-rings however became finally general, 
and were ultimately worn by citizens of Rome as an 
appointment carrying with it an appearance of respecta- 
bility. The abuse of honorary statues in Rome was 
not greater than the luxury of rings, for frequently 
were the hands entirely covered with them. Tbe art 
of engraving was not confined to gems, but was ap- 
plied to the ornamenting of vases, of gold, silver, 
onyx, crystal, &c., &c., and to every description of 
personal ornament. 

The love of this department of Art grew to a passion 


48 


THE ART-UNION 


[MARCH; 


among: the ancients, some of the most celebrated of 
whom encouraged it extensively. Heliogtbalus is said 
to have worn gems on his 41 shoes and stockings”— 
Pompey esteemed gems among the richest of his cap* 
tures— Jnlius Caesar was a great collector of them ; he 
left his cabinet to the Temple of Venus Genetrix. 

Gems remain to us in better preservation than any 
other relics of equal antiquity; a fact easily ac- 
counted for, when we consider their uses— sacred and 
moral ; their material durability ; the value set upon 
them ; and their portability and facility of concealment. 
\Ve have seen gems submitted to examination by mi- 
croscopes of the most powerful construction ; a test by 
which their execution seemed the more marvellous, as 
the finest statues did not excel them in proportion 
and accuracy of design. In the Poniatowski cabinet, 
formed with such care, and collected at such expense, 
it may be supposed that all are of high value; there are, 
however, very many of rare beauty ; we may instance 
No. 14. * The Goddess Vesta,* by Pergoteles ; No. 33. 
* Head of Ganymede ;* No. 108, by Gnaios, 4 Venus 
seated in a Shell, drawn by Dolphins;* No. 155, by 
Gnaios, 4 Apollo pursuing Daphne ;’ No. 164, by 
Chromios, 4 Midas bathing in the River Pactolus ;* 
No. 168, by Pharnax, 4 Tityus in Torture,* &c. &c. 
The whole of the impressions indicate the finest pre- 
servation, display the richest poetry in design, and the 
utmost nicety of execution. 

In thus multiplying the collection, so as to render 
accurate copies of it accessible to lovers of art gene- 
rally, Mr. Tyrrel has conferred a public benefit; of 
the originality of a vast proportion of them there can 
be no doubt : they are valuable lessons to artists. We 
shall recur to the subject on some future occasion, 
describing the series more minutely. 


METROPOLITAN IMPROVEMENTS. 

To obtain the most direct and commodious thorough 
fares, sewers, and means of ventilation, to establish 
public parks and walks, and to embellish architectu- 
rally and otherwise the Metropolis, are all objects of 
the greatest importance to the health, comfort, and 
morals of the people, at once recognised by all, and 
every where admitted. It is, nevertheless, a fact, that 
these things are managed badly amongst us ; that thou- 
sands have been spent in bit-by-bit alterations that 
might have been improvements, but are not so ; that 
opportunities of adorning the streets, of establishing 
silent lectures on the beautiful, are every day neglected ; 
and that even now densely populated quarters are so ill- 
arranged, and so badly ventilated, that fever reigns, 
not merely in every house, but in every room of every 
house, and spreads thence with fearful power through 
all the town. It is, therefore, a matter for con- 
gratulation, that these subjects are now exciting 
public attention to a very considerable extent, and 
that the necessity of arranging and carrying out 
gradually some comprehensive and general plan is 
beginning to be felt. A Society is now in course of 
organization with this end in view, and has been taken 
up warmly by a number of influential men of all 
parties and professions. It does not propose to origin- 
ate plans itself, but to examine into and further the 
adoption of the principles on which all such plans 
should be founded ; to point out the evils which have 
arisen from considering the subject only in detail; and 
to urge upon the Legislature the importance of looking 
forward for ten or fifteen years, and of employing the 
first talent in the country to prepare, for the consider- 
ation of both Houses of Parliament, a plan of all the 
improvements in the metropolis which might be carried 
into effect within the period named. Were any magni- 
ficent plan of this description brought before the coun- 
try, a plan which all would be proud to see realized, 
and which would, in the end, be sure to benefit all, as 
such a plan unquestionably would, we are convinced it 
rrould at once become popular, and that money might 
be raised without difficulty to carry it out efficiently. 

Up to this time plans have been brought forward 
solely with regard to the interest of the few, and have 
never been considered relatively to a whole, or with a 
view to the general welfare- There can be no doubt 
that this Society may effect much good; in fact, it 
must do so, if it be but by simply exciting attention to 
its object ; and we look anxiously for its immediate 
proceedings. Even at this time, the Act of Parliament 
which has been obtained for improving the metropolis, 
and which includes the formation of a new street from 
Coventry-street, Piccadilly, to Long-acre, might be re- 
vised with the greatest advantage. The penny-wise- 
and-pound-foolish system has been pursued, and, un- 
less some alteration be made, will materially lessen the 


amount of good which might have been expected from 
it. Even in a pecuniary point of view, a partial im- 
provement is never found to make so good a return 
proportionately as a perfect one ; as, for example, 
£ 10,000 may be spent in taking down one side of a 
street, without obtaining any return for the money so 
laid out ; whereas removing the whole at a cost of per- 
haps no more than double the amount, may, by entirely 
altering the neighbourhood, raise the rents, and so 
produce a fair interest on the amount expended 
44 There is that scattereth, and yet increaseth ; and 
there is that withboldeth more than is meet, but it 
tendeth to poverty.** 

The committee, which is at present little more than 
provisional, comprises Mr. Ormsby Gore, M.P., Mr. 
Mackinnon, M.P., Colonel Sykes, Mr. Barry, R.A., 
Mr. Martin, K.L., Mr. H. T. Hope, Mr. Ivntt Briscoe, 
Mr. W. E. Hickson, Mr. Britton, Dr. Southwood Smith, 
Mr. Donaldson, Chairman of the Commissioners of 
Sewers, Mr. Godwin, Colonel Frosser, Mr. Wentworth 
Dilke, Mr. B. Smith, M.P., Mr. Chadwick, Dr. Elliot- 
won, Mr. C. Fowler, Mr. Lindley, and many others. 


OBITUARY. 

DANNECKER. 

The celebrated German sculptor died at Stutgard 
on the 8th of December, in the eighty-fifth year 
of his age. To all artists who have visited Ger- 
many, his works are well known, and his fame 
has reached all English lovers of Art through his 
widely. celebrated 4 Ariadne,’ an exquisite com- 
position, in the possession of Rethman, the banker 
at Frankfort. The early history of Dannecker is 
like that of many, very many first-class artists, 
and might be written in less than a dozen words, 
from that vocabulary which supplies the plain 
means of describing the commencement of every 
similar career; these are, poor parents — innate 
devotion to Art — intense application — difficulties 
— success. His parents endeavoured to thwart 
his inclination for the plastic arts, but the fasci- 
nation was too strong upon him, and it carried 
him through all their opposition. His father was 
employed in the stud of Duke Charles of Wur- 
temburg, to whom the youthful Dannecker ex- 
plained, personally, his views; and in 1771, at the 
age of thirteen years, obtained permission to 
study in the academy at the “ Solitude,” a ducal 
residence near Stuttgard, where pupils received, 
gratis, instruction in painting, sculpture, and mu- 
sic. One of the principal rules of this academy 
was infringed in the admission of Dannecker ; for 
the students admitted were not below the middle 
rank in life; he, however, soon distinguished 
himself, and bore away, in his sixteenth year, the 
prize from older competitors — the prize awarded 
to him for his model of 4 Milo of Cortona.’ 
Friedrick Von Schiller was a fellow-townsman of 
Dannecker, and also a fellow-student at the Soli- 
tude, where a friendship commenced, of which a 
lasting memorial remains in the famous statue of 
the illustrious poet. In 1780, and in his twenty- 
second year, he quitted the academy, as did his 
friend Schiller at the same time. While studying 
he was encouraged by employment from the duke, 
who afterwards appointed him sculptor to the 
Court, with a salary of 300 florins a year — about 
£25. Ardently desiring improvement beyond what 
his native place could afford him, his wishes 
pointed to Paris, which place he received per- 
mission to visit; but at first without any addition 
to his pittance, which was increased by 100 florins 
only after a residence of some time in that capital. 

At Paris he became the pupil of Pajou, and 
made the friendship of the sculptor Scheffauer. 
At that time, as now in the French capital, the 
facilities for the study of nature were greater than 
in any other European city. To this study there- 
fore he devoted himself during the term of his 
sojourn there, which was about five years. In 
1785 he quitted Paris in the society of Scheffauer, 
with whom he proceeded to Rome, where he at- 
tracted the attention of Canova, by whose instruc- 
tion and advice he was much benefited. In Rome 
also commenced his friendship with Gdthe and 
Herder, who, like himself, were seeking inspira- 
tion from the relics that enriched the Eternal 
City. In Italy his reputation took its rise; for 
there he produced works which caused the aca- 
j demies of Milan and Bologna to elect him a mem- 
ber of their respective bodies. On returning to 
I Stuttgard, he was employed for some time in mo- 


delling various subjects for Duke Carl ; and he 
was thus occupied until 1796, when he again com- 
menced working in marble, and executed his famous 
4 Sappho,’ which is at Monrepos. Many busts of 
very celebrated persons are among the works of 
Dannecker ; ana none better known than that of 
his early friend Schiller. His bust of Gluck, the 
composer, is also an admired production; this 
was the result of a commission from the present 
King of Bavaria, when Crown Prince, for whom 
he also executed other works. His group after 
the Mythus of Apuleius— 4 Eros and PsychS'— is 
celebrated for its conception and poetic treatment ; 
and some of his other mythological subjects are of 
the highest class of merit, as his 4 Minerva,* 

4 Melpomene,’ and 4 Thalia.* His works in mar- 
ble and bronze are numerous, amounting in num- 
ber to about 500 ; of his busts, that of Lavater is 
considered the finest ; and of his ideal productions 
his capo d' opera is a statue of the Saviour. This 
last named work was finished in the year 1824, 
having been a subject of elaborate study during 
eight years. For the original conception he was 
indebted to a dream ; and, perhaps, no other work 
of its class acquired, during its tardy progress, a 
greater degree of renown for its author. Thor- 
waldsen saw the figure before completion in the 
atelier of Dannecker, and expressed an opinion 
that, by the addition of drapery, the success with 
which the subject had then already been treated, 
would be annulled ; but the latter adhered to his 
original design, and the result has shown that he 
was fully equal to the task he had imposed upon 
himself. 

As may be understood from the nature of bis 
subjects, his style was formed from the antique. 
For some time before his death, he was but the 
wreck of what he had been, and had ceased from 
mere superannuation to exercise his art. 

M. BOUCHOT, 

After having long struggled against disease in the 
chest, has at last sunk under it, and died in 
Paris of decline. M. Bouchot was born in 1800, 
went to study at Rome and afterwards at Naples. 
Returning to Paris, his talents were soon ac- 
knowledged as a painter, both of history and 
portraits. The French Government ordered him 
to paint, for the church of La Madaleine, a Lu- 
nette of gigantic proportions, the figures being 
twice and a half the size of life. The subject is 
4 The three Marys at Calvary.* It is one of 
the finest pictures in the church, and is the master- 
piece of the artist in religious works. In the his- 
torical style his best production is 4 The Death of 
General Marceau,’ in the Museum at Versailles. 
While Bouchot was receiving from Government 
and individuals an immense number of commis- 
sions for pictures — accompanied by honours and 
fortune— while he was happy in domestic life, hav- 
ing married the daughter of Lablache, to whom he 
was devotedly attached, death came and closed his 
career, leaving in grief and desolation his friends 
and family. 

MR. HUBERT FRY. 

This amiable young man had given great pro- 
mise of excellence as a marine artist ; a few of his 
early drawings have been engraved. He was on 
a voyage to Italy for the purpose of improvement 
in his professional studies, and had arrived within 
twelve miles of his post of destination, when a 
heavy gale drove the vessel ashore, and Mr. Fry 
perished with four of the crew, on the night of the 
31st of January. He wits 22 years of age. 


Hereford.— Arrangements are in progress for 
restoring the fine old Cathedral of Hereford: the esti- 
mated cost is jer20,000. The Dean and Chapter are 
ready to subscribe jfc‘2000 from their own resources ; 
the Bishop of the diocese, j£ 500 ; and the Chancellor 
of the choir jtflOO. The circular states that 44 since 
the year 1831, the Dean and Chapter have expended on 
the fabric, besides the proceeds of the fabric’s estates, 
and a voluntary sacridce of 5 per cent, upon all their 
fines, the sum of jeri49 7s. Od. from their own private 
means.” Unfortunately, there is a debt of nearly 
j£T 9000 upon the fabric fund. The restoration of these 
time honoured and deeply interesting structure is a 

S lorious work, to which the clergy and the laity should 
e equally ready with aasistance. The sum required, 
is not a large one, and might be easily raised without 
inconvenience, by contributions from the purses of a 
few wealthy individuals. It is an object, however, in 
which the public generally should co-operate. At a 
more recent meeting than that to which we have 
referred, it was determined to entrust the work to 
Mr. Cottingham. 


1843 .] 


THE ART-UNION. 


49 



WOOD-ENGRAVINGS. 

We hare no design to enter at any length 
into this subject ; a History of the Art we have 
already given ; our purpose is merely to print 
a few specimens of wood-engraving: — first, 
because they will form an agreeable acquisition 
to our subscribers ; and next, because they will 
afibrd some idea of the progress of the art 
during the last year; our examples being 
selected from the best of the illustrated books. 

We commence with a selection from the 
published volume of Mr. J. Jackson — “ A Trea- 
tise on Wood-engraving”— a beautiful, interest- 
ing, and valuable work, to which we refer the 
reader who desires to obtain information on the 
subject either as to its origin, progress, and 
present state, or to the “ practice of the art,” of 
which Mr. Jackson has given a detailed account, 
at once minute and comprehensive. 

As we have other opportunities of selecting 
from the works of modern engravers, we take, 
from Mr. Jackson's book, copies, by him, from 
some of the old masters in the art. The first 
two are from Albert Durer; the one, from the 
vignette title page to his “ History of the Vir- 
gin” (published at Nuremberg, a.d. 1511), the 
other from the vignette title page to “ Christ's 
Passion.” which appeared about the same time. 
The third is from Holbein's “ Dance 

of Death.” The fourth is copied 

from a cut engraved by Christopher 
Jegher(about 1610), from a drawing 
made upon the block by Rubens 
[the original cut is twenty-three 
inches and a half wide by eighteen 
inches high]. The fifth is copied 
from Burgmair, born at Augsburg 
about 1473; he made an immense 
number of designs upon wood, 
although it is not certain that he 
engTaved any of them. The ex- 
ample wc introduce is from his 
44 Triumphs of Maximilian,” — a 
work “executed by command of 
the Emperor, to convey to posterity 
pictorial representations of the 
splendour of nis court, his victories, 
and the extent of his possessions.” 

The sixth cut is from the same 
work, and is one of the most gor- 
geous of the series ; although, ac- 
cording to the “Treatise on Wood- 
engraving," there are reasons for 
believing it was not from a drawing 
by Burgmair, but by one of his 
contemporaries. The cut is un- 
finished— the parts left black on 
the banners having been intended 
for inscriptions. Mr. Jackson de- 
serves the highest credit for the 
manner in which he has produced 
this work— a work that will add 
greatly to his reputation. 



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THE ART-UNION. 


[MARCH, 


In this column we give three specimens from anew Edition of the “ Poems 
of Cowfee the engravings being all by Mr. Orrin Smith, from the drawings, 
on the wood, of Mr. John Gilbert — an artist who has, very recently, made good 
his claim to a leading station in this branch of the profession. Few, indeed, 
have more happily, or accurately, illustrated the works of the most tenderly 
didactic of our British poets. Mr. Gilbert has completely entered into the feeling 
of the original, in the passages he has selected ; his drawings have been executed 
with great delicacy and care, yet with a sufficiency of vigour, to redeem them, 
amply, from the charge of over-refinement. 


We take three specimens from a work entitled “ England in the Nineteenth 
Centubt." It is publishing in Monthly Parts— of which four only have as yet appeared— by 
Messrs. How and Pabsons. It is a very elegant publication, and will prove an exceedingly 
useful one ; for the object held in view is to depict each county, not alone with reference to 
its pictorial beauties, its architectural splendours, and its peculiar characteristics; it forms a 
prominent part of the design to furnish information upon all important topics — such as the 
Population Returns, particulars relative to Poor-law Unions, Roads, Boundaries, Magistracy, 
&c. &c., “ arranged in so simple and concise a form as to afford an accurate idea of the exist- 
ing state of our county relations in all these respects.” The first is Hulme Hall, Lancashire; 
the second, Tol Pedn Penwith ; and the third, Roche Rocks, both in Cornwall. The drawings 
are by Mr. G. F. Sargent. 


I 

! 





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The two cuts which follow are selected from “Master Humphrey's Clock;” both are from drawings by 
Cattermole, engraved by Landells. The work is so universally known as to render notice of it unnecessary, its 
popularity has been unsurpassed by that of any publication of the age ; there are few persons in Great Britain, who 
can read, who are not familiar with the productions of the estimable and accomplished author. Happily, they 
advocate, strenuously and eloquently, the cause of Virtue; their extensive circulation is, therefore, certain to 
advance the general good. The beauty and value of the illustrations to the volumes, most recently issued, cannot 
have been appreciated by the public; for the necessity of printing rapidly and largely has rendered it indispensable 
to “ work ” the cuts by machinery ; and no machine has been, as yet, brought to such perfection as to render justice 
to the wood-engraver. It will be perceived, however, by comparing our impressions with those published in 
“ Master Humphrey’s Clock," that the ordinary process has been wonderfully successful. 


We select four cuts from an edition of “ Thomson’s Seasons.” 
It contains forty-eight illustrations, drawn and engraved by 
Samuel Williams, an artist who deservedly holds a foremost 
rank in his profession. The volume is published by Messrs. Tilt 
end Bogue, and is a beautiful specimen of typography, from the 
press of Wright and Co., the successors of Whitehead and Co. 



52 


THE ART-UNION 


[MARCH, 


We select, in this page, some very favourable examples of the ability of our British engravers. They are from a volume— just issued— by Mrs. 8. C. Hall, entitled 
“Sketches of Irish Character." The volume consists of a series of deeply interesting and beautifully written stories; in introducing which the fair authoress states 
that she has “aimed at a higher object than mere amusement, desiring so to picture the Irish character as to make it more Justly appreciated, more rightly estimated, and 
more respected in England." The volume contains five engravings from paintings by Maclise; and about fifty wood-cuts of the highest merit, drawn on the wood by Herbert, 
Evans, Townsend, Harvey, Franklin, G. Cruikshank, Weigall, Me Ian, West, &c. &c. The Fairy Piper is drawn by S. West, engraved by Armstrong; the Girl Digging Turf 
is by Evans and Walmsley; the Neglected Children, by Franklin and Green; Coolbull Castle, by Brooke and Delamotte; “the Lecture," by Gilbert and Landells. 



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1842] THE ART-UNION. 53 


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i 


i 


i 



In this page we give five specimens from Mr. Murray’s illustrated edition of "Lockhart’s Spaicish Ballads,”— perhaps the most 
exqutlitely beautiful work, illustrated by engravings on wood, that has yet appeared in England. Our selections are from the drawings of 
Mr. H. Wanren, the President of the "New Society of Painters in Water Colours;” Mr. W. Harvey, and Mr. C. E. Aubrey. We regret that, 
in the list of contents of the volume, the names of the engravers are not mentioned— they have done Mr. Murray ample Justice. The book has 
also received the aid of W. Allan, R.A., David Roberts, R.A., and W. Simson; and every page contains a tinted border, designed by Owen 
Jones, architect. We rejoice to learn that this graceful and elegant volume is "out of print:” — a circumstance that will, we trust, stimulate 
Mr. Murray to the production of other books of equal beauty and merit. We hope that, ere long, the best of our British artists will not consider 
it an unworthy or unbecoming task to execute drawings for the wood-engraver; in France and Germany genius of the highest order has been 
thus employed so often, that the superiority of Foreign, over British, artists, is too generally looked upon as indisputable. We admit nothing 
of the kind ; although here we cannot attempt to combat the error. 


T 

- -'/ivVlr? 

\ -' / / i 




Yjfn j^Sy 1 joij 


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THE ART-UNTON 


[MARCH. 


This page contains specimens from the edition of “ Shakespeare,” published by Mr. Tyas, engraved by Orrin Smith, from the drawings of Kenny Meadows. The Work is issued in Monthly 
Parts, and at so cheap a rate as to place the dramas of the great Poet, worthily illustrated by the artist, in the hands of the people. The designs are — the great majority of them, at least— of 
unrivalled excellence ; no painter has ever more completely caught the spirit, or more accurately conveyed the meaning, of the original ; and the engravings are of corresponding merit. 



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1842 .] 


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55 



Hiu are two examples from Mr. Knight's pictorial edition of the works of Shaksperb; an 
’ “ illustrations, but also for the excellence of the notes 


Wa select four Cuts from “The British Angler’s Manual" — the letter- 
press being from the pen, and the illustrations from the pencil, of the accom- 
plished painter, T. C. Hopland, Esq. We give them less as fine specimens of 
wood engraving, than as good examples of the artist’s ability to render the one 
art subservient to the other. Mr. Holland is— as all painters ought to be— an 
angler; and his book upon the subject is an interesting and a very valuable 
auxiliary to all who pursue “ the gentle craft." 


edition valuable not only for the beauty of the 
and elucidations. 




V* 

me s» 





it 






Hr . 

1 1 





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THE ART-UNION. 


[MARCH. 


In this page we give a few selections from a Work, publishing in monthly parts, entitled “ Ireland, its Scenery and Character; by Mr. and Mrs. S. C. Hall.” The illustra- I 
tions are supplied by various artists, and are descriptive of the people, the antiquities, and the natural beauties of that country. As works of art the majority of its embellishments are of 
the very highest merit ; and the engravers, who have executed the various subjects, are of established repute. Each mouthly part contains about twenty wood cuts, two engravings on i 
steel, from the pencil of Mr. Creswick, and a map of a county. The first is Carlow, drawn by Harvey, engraved by Green ; the second, “ Pancake tossing,” from a drawing by Maclise, R.A., 
engraved by Landells ; the third, a “ Pishogue woman,” drawn by Timbrell ; the fourth, a girl crossing a mountain stream, by Harvey, engraved by Miss Cook. ' 





We have thus presented to our subscribers the best specimens 
we could obtain of the wood-engravings in course of publication. 
We shall, at least once a-year, furnish a similar sheet of exam- 
ples, to exhibit the progress of the art. 

We may take this opportunity of stating that Mr. 8. C. Hall 
is preparing for the press a volume that will, in some degree, 
associate with the “ Book of Gems of British Poets,” published 
by him, some three or four years ago. The work on which he is 
now engaged, is a collection of British Ballads, including the 
choicest of those that have been gathered, with so much industry 
and labour, by Perct, Evans, Ritson, Ellis, Scott. Jameson, 
Pilkikgton, Motherwell, &c. &c.; the majority of which 
rank among the most popular compositions in the language, but 
which have never yet been brought together. The engravings 
are to be on wood, from drawings by the most eminent of our 
British artists; it is intended to introduce an illustration upon 
every page, so that the volume may contain above Four Hun- 
dred embellishments. Ample scope will thus be afforded for 
the display of that genius in design, in which the artists of 
Great Britain have been hitherto, we think unjustly, contrasted, 
to their disadvantage, with the artists of Germany and France, 
whose works, drawn on the wood, are generally considered of 
unapproachable excellence. The volume will be “ got up” so as 
to vie, in all departments, with the best productions that have 
been issued in any country. 


I 


f 


l 


THE KNORAVINGS PRINTED BY WIUOHT AND CO , 76, PLKCT STRUCT, WITH INK MAN f » ACT U HID NY HOW AND PARSONS, EXPRESSLY FOR WOOD-CUTS. 


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PUNCH’S PENCILLINGS— 

SOCIAL MISERIES.— No. 10. 


N° XLVII 


N 


1 2 .- 











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1842.] 


THE BRITISH INSTITUTION. 

The Exhibition— 1842 — was opened to the public 
on Monday the 5th of February; as usual, the 
catalogue contained the brief preface of two lines — 

44 The directors have been under the necessity of 
returning upwards of three hundred pictures for 
want or room l” — an annual declaration that re- 
flects no credit upon the Institution. Every petty 
dealer in marine stores takes especial care that 
his warehouse shall increase in proportion to his 
business ; and he would be stigmatized as an idiot 
who assigned as a reason for rejecting customers, 
that he had no space in which to exhibit the 
articles they required, and in which he professed 
to deal. We call earnestly, but most respectfully, 
upon the wealthy and influential noblemen and 
gentlemen who direct this great and important 
establishment for 44 promoting the Fine Arts in 
the United Kingdom’ * — mainly by disposing of the 
works of British artists— not to suffer this de- 
grading and afflicting announcement again to de- 
face their books: not to reject nearly as many 
works of Art as they exhibit;* not to deprive, 
it may be, three hundred artists of even the 
chances of honour and recompense ; not to lower 
the British Nation in the eyes of foreigners, by 
showing that the British people, though pro- 
fusely liberal in the building of royal stables, 
can afford only to maintain a structure in which 
the- 44 Fine Arts” are to be “ promoted” by 
exhibiting exactly two-thirds of the number of 
works sent for exhibition. “ Want of room !” — 
how deplorable an excuse for the suffering, mental 
and corporeal, that must have ensued to many — 
perhaps to three hundred — men of genius, in- 
dustry, and perseverance, whose aspirations have 
been subdued, whose hopes have been crushed, 
whose prospects have been blighted, and whose 
means of existence may have been taken from 
them — for a cause so pitiful ! Is this picture too 
highly coloured? We know that it is not. But 
that we should inevitably wound sensitive feel- 
ings, we could tell the Directors stories of misery, 
incident upon these “ rejections,” at which the 
most stoic among them would shudder, and which 
many of them would, at once, rush to relieve. It 
is not the beggar who exhibits his rags, and in- 
trudes his ailments upon the eye or ear, who is 
the truest object of generous consideration ; it is 
the high-minded gentleman, who suffers in secret, 
and lets want eat into his vitals till he dies, rather 
than let the world bruit about his wretchedness. 
Are there no living instances to pair off with 
those of Proctor in the one profession, and Chat- 
terton in the other? We dare not name them 
until they are dead l 

The aggregate incomes of the Directors of the 
British Institution are at least three millions per 
annum. But we have no notion of demanding 
that they, out of their private means, rid them- 
selves of the reproach of rejecting “ three hundred 
pictures for want of room.” Sure we are that the 
hinds of the Institution, properly managed, would 
be amply sufficient, either to enlarge this gallery, 
or to build another sufficiently extensive, even if 
all idea of obtaining a grant in aid from the Na- 
tion were to be abandoned ; and we do contend — 
strongly, but respectfully — that it is the duty of 
the Directors to see it done.t 

The Exhibition of the present year contains, as 
we have stated, four hundred and fifty-two works. 
Of these, several have been made familiar to us 
elsewhere. There is no single picture of absorb- 
ing interest ; but the collection supplies evidence 
of progressive improvement, and is, as a whole, 


* The Exhibition consists of four hundred and fifty- 
two works of Art, of which seven (!) are in sculpture. 

t It would require no very large sum— in addition to 
the value of the present Institution— to purchase the 
I St. James’s Theatre, which appears to have been a 
disastrous speculation for the proprietor, and which 
certainly might be obtained upon very advantageous 
I terms. Nor is there, we think, any doubt that Go- 
vernment would assist in promoting an object of vital 
importance to the Arts of this country. Any plan that 
emanated from so many distinguished persons as com- 
pose the directorship would, indeed, be certain of suc- 
cess ; their high and honourable names would be a 
I sufficient guarantee for the propriety of a step in ad- 
vance, commensurate with the altered condition of the 
Arts- since the commencement of their design, in 1805 
I — thirty-seven years ago, when artists were few, and 
i a very limited wail sufficed to hang all the pictures 
I painted in England during the year. 


THE ART-UNION. 


satisfactory. A large proportion are of consider- 
able merit ; and the number below mediocrity is 
very few — fewer than usual. Still, we cannot 
describe it as greatly surpassing its predecessors ; 
nor, indeed, does it come 44 up to the mark ” we 
had a right to anticipate, as a consequence of the 
distribution of prizes last year, and a notice that 
the same plan would be pursued this. The ma- 
jority of our more distinguished painters are 
absentees ; and some of those who were formerly 
regular and extensive contributors have on this 
occasion sent nothing, 

We cannot commence our annual task without 
recurring to the old subject of complaint — the 
blunders in hanging. We shall be much mistaken 
if it be imagined that 44 grumbling” is a pleasure 
to us ; or that we approach this topic with any 
feeling but that of extreme reluctance. It is, how- 
ever, utterly impossible that we can shut our eyes 
and close our ears. Artists use the pencil, and 
not the pen ; they must appear by counsel when 
they design to make their wrongs known and their 
complaints heard. As long as we stand in that 
relation to them, their case shall be stated fully 
and freely, however high may be the rank of their 
judges. We say, without hesitation, the exhi- 
bition at the British Institution is fertile in proofs, 
either of ignorance or partiality ; that several in- 
ferior pictures have been elevated into undue emi- 
nence by the positions in which they are placed ; 
and that many works of undoubted merit are so 
situated as to appear utterly insignificant or worth- 
less. We do not intend to notice all the 44 perpe- 
trations” of which we complain, but some of them 
we cannot pass over in silence. Let the visiter 
look to the right-hand corner of the 44 grand 
room;” stoop very low (if he will kneel, so much 
the better) and he will see two exquisitely painted 
works, of a high class of character; finely con- 
ceived and elaborately wrought, by J. R. Herbert; 
neither of them large, placed 44 on the line” — of 
the floor ; so as to be totally useless to the accom- 
plished and popular painter, in the way of adding 
either to his reputation or his property. Mr. Her- 
bert has two other pictures in the gallery ; both 
are placed in the condemned room.* In the same 
melancholy chamber is an admirable painting by 
Mr. Frith, a young artist who has already ga- 
thered “ golden opinions,” and who bids fair for 
the highest professional honours at a period not 
very distant. We venture to assert, that if this 
picture were placed upon the line, it would obtain 
one of the four prizes. Another young painter — 
Mr. Poole, to whom the same observations would 
apply with equal force — has two pictures in the 
list : one of them is placed at the top of a room, 
and one on a level with the floor. The one above 
may be, for aught we can tell, the veriest daub 
that was ever painted ; and, in the absence of 
proof to the contrary, we will give the 44 hangers” 
credit for justice in putting it where it could not 
disgrace its company ; but the one on the floor we 
can see — and have seen : it is a work that would 
do honour even to the collection of Mr. Wells.t 

No. 1. 4 View on the river Vecht, near Loenen, 
Holland,’ E. W. Cooke. A small picture, which 
occupies the centre over the fire-place of the 
north room. It is gracefully painted, but is sur- 
passed in merit by other works in the exhibition, 
productions of the same excellent artist. He 
does not, however, this year manifest the progress 
that may be justly expected from one who has 
been 44 patronised ” (the term is a bad one, but 
we have, unfortunately, no better), to a very 
great extent. Vet how dangerous it is to form 
conclusions without sufficient evidence ; we hap- 
pen to know that the painter has been for many 
months labouring under an affection of the eyes — 

* Mr. Herbert was a few months ago elected an 
associate of the Royal Academy; we believe unani- 
mously, or, at least, nearly so— a fact of which the 
directors, we must assume, were as little cognizant as 
they are of the existence of his genius ; for in the cata- 
logue, the letters A.R.A., which betoken the distinction, 
are omitted. We can hardly conceive the condemna- 
tion of Mr. Herbert by the Institution to be accidental, 
for it is but a sequel to the proceedings adopted against 
him— here, but here only— during the last four or five 
years. 

t Mr. Poole exhibited a work last year at the Society 
of British Artists ; it was bought immediately, and 
might have found a score of purchasers. We write 
from our own knowledge. There are few artists in the 
collectiou whose works would be more ardently coveted 
—if they could be seen. 


57 


and that, consequently, decided improvement was 
not to be looked for. As it is, however, his pro- 
ductions arp pre-eminently good ; and suffer only 
by comparison with those of his own, which the 
public as well as the critics have stamped with 
approbation. 

No. 2. 4 The Wanderer,’ T. Webster, A.R.A. 
A delicious cabinet picture, occupying, also, the 
post of hononr— and deservedly so. As a painter 
of youthful expression, this artist has rarely been 
excelled. The present work consists of his ordi- 
nary elements of composition: a young Italian 
itinerant is exhibiting his menagerie of guinea 
pigs and white mice, at the door of a cottage, to 
some children within. The descriptive force lies 
in the contrast which exists between the heads of 
the children — that of the Italian boy on the one 
side and those of the cottage children on the 
other. The brow of the former is clouded with 
early care, and his eyes are fixed upon some object 
within the cottage ; but his hope is checked, by the 
angry repulse instead of the hearty greeting ; such 
would seem to be the artist’s design ; the effect is 
therefore highly dramatic; we can almost hear the 
voice of the dame dismissing the supplicant al- 
though her form is unseen. The expression of 
the boy’s countenance — of the eyes especially — is 
a production of absolute genius. The subject is 
extremely simple, but its treatment is unaffected 
and full of truth. 

No. 3. ‘The Pedler,’ J. C. Horsley. A very 
highly- wrought work, but not, therefore, the more 
effective. The artist has the merit of expending 
labour upon every part of his picture ; but he has 
done so at the sacrifice of character, and given to 
it 44 a mechanical turn he, evidently, lacks that 
consciousness of power, without which great things 
are never produced. It was exhibited last year 
at the Royal Academy, and was, consequently, 
scarcely entitled to the conspicuous place it at 
present holds. 

No. 4. * The Saint Manufactory, or the interior 
of one of those shops at Naples in which are 
carved, painted, and sold Crucifixes, Madonnas, 
Saints, Angels, and Souls in Purgatory,’ T. 
U wins, R.A. For a tableau- de-genre this is a 
rich subject ; and Mr. Uwins has availed himself 
of its abundant appliances with infinite skill and 
judgment. The padrone is seated and listening 
attentively to the instructions of a monk, who, 
by the way judging from appearances, seems to 
enjoy the easier life of the two. Upon the former, 
as the master spirit of the place, the principal 
light falls ; and the manner in which the other 
figures and objects in the composition are made to 
retire, is really the perfection of Art. This is a 
style of subject different from the daylight scenes 
we have been accustomed to from the same hand ; 
but the success is not less signal in this than in 
productions of this gentleman’s other manner, of 
which we have so often had occasion to speak in 
terms of eulogium. He is a most accomplished 
artist — a high and classic mind is apparent in all 
be does ; he never trusts to his ability in copying 
from and giving colour ; but thinks deeply and 
maturely. In his hands the produce of the easel 
is a production of the intellect — naturally and 
strongly exercised. 

No. 5. 4 A Contadina of Sorento,’ E. V. Rip- 
pixgille. A striking and very touching portrait; 
cold and raw in tone perhaps — a mistake into 
which nearly all our artists fall, who study long in 
Italy. At least, it seems a vice in our English 
eyes, and is certainly opposed to our English 
tastes. No. 6 is by the same artist; 4 Manete- 
nooii, or Brigand Servers ;' painted from Pietro 
Ciconi and his wife, two persons notorious in this 
kind of traffic. Mr. Rippingille has been study- 
ing the most famous — or rather infamous— of the 
Italian Bandits; the collection contains several 
examples of his bias this way ; we are thankful 
that they permitted him to “ take himself off” as 
well as his dangerous sitters. 

No. 8. 4 Fruit,' G. Lance. It is impossible to 
conceive a picture of its kind more beautiful than 
this— if it has a fault, it is that the arrangement is 
too methodical. Grapes, plums, &c., are the 
fruit : a pheasant is added lying on its back, and 
presenting the varied hues of its breast plumage, 
every feather of which is individually coloured ; 
with a care however divested of all hardness. The 
Dutch school is here outdone, not only in purity 
of tone, but also in finish. 

No. 17. 4 The Fair at Fougeres, Brittany,’ F. 


58 


THE ART-UNION 


[MarcHj 


Goodall. A subject like this, admitting of ex- 
pression of every shade and action of every degree 
of emphasis, is a severe test for the maturity of an 
artist, and proportionably more so for uncon- 
firmed powers. Many of the best artists of our 
school have painted fairs and village festivals, but 
few of these associate themselves m memory with 
the names of their authors as their best works. 
With respect to the present picture — being a 
French fair, it were nothing if it were not essen- 
tially French ; this it is to the minutest items of 
its composition, and we trust that Mr. Goodall 
will paint English domestic scenes with the same 
fidelity that he depicts foreign. There is a dis- 
tinct coincidence or feature peculiar to the Nor- 
man and Breton women, which is so faithfully 
described in all the works of the artist, as to 
become somewhat monotonous. The grouping of 
this picture is most effectively designed; some 
parts even remind us of Wilkie : we can pay the 
artist no higher compliment. He is, we under- 
stand, very young— not yet twenty years of age ; 
if he continue to improve as he has progressed 
hitherto, he will be an artist of whom his country 
will be proud; we do most earnestly hope that 
success will not beget carelessness, but that the 
praise with which he will be greeted on all sides 
may stimulate to still higher exertions. Some 
years ago we saw in his very early works promise 
of great excellence, and gave expression to the 
hope we entertained of his future career ; hitherto 
we have not been disappointed, nor have we much 
apprehension that we shall be so hereafter; but 
now that he is “ winning golden opinions’* every- 
where, we may serve him better by warning rather 
than by cheering. 

No. 22. * Study from Nature/ F. Grant. A 
most delicate and graceful portrait, of a small 
size; possessing very high qualities, and not 
offending by the slight and “ unlaboured’* manner 
for which it is conspicuous. 

No. 25. 4 First Love,’ Mrs. W. Carpenter. 
Perfectly delicious ; a picture that cannot be too 
highly praised. The production of a most ac- 
complished mind, and bearing ample evidence of 
thorough knowledge of the capabilities of Art. It 
is the portrait of a young child nursing her doll ; 
a simple composition, happily and beautifully true. 
How very few of our British painters are there who 
can surpass this work in any one of its qualities ; 
indeed, in the whole ran^e of modern Art we could 
scarcely name one who, in this style, so essentially 
English, could go beyond it. We have said, and 
say again, that the Royal Academy would do 
themselves honour by electing this lady a mem- 
ber of their body ; the case is by no means without 
precedent; yet when candidates for future pro- 
fessional distinctions are mentioned, how is that 
we never hear of her ? 

No. 26. ‘ Scene in the New Forest, near Min- 
sted, Hants,’ Copley Fielding. As, generally, 
with the oil pictures of artists who profess espe- 
cially wafer-colour painting, this picture of Mr. 
Fielding's is strongly characterized by the manner 
of his water-colour productions. The horizon is 
black with threatening clouds, and everything be- 
tokens an approaching storm. The foreground is 
swept by fitful gusts of wind, the violence of which 
is amply shown by the yielding trees on the left of 
the picture. A small sketch in the south room is, 
however, much less free from the habit of painters 
in water-colours : it is remarkably bold and mas- 
culine in tone. 

No. 32. ‘ Consequence’ — a sketch, W. E. 
Frost. A capital bit, full of point and character. 
The artist is an accurate observer, and can picture 
humour without vulgarity. We look for better 
things at his hands hereafter. 

No. 33. * A Forest Bourn,* J. Stark. A true 
copy of Nature, as Nature appears in England — 
nothing exaggerated — nothing put in for effect. 
It is not the only good and true work by Mr. 
Stark to which we shall have to refer ; and al- 
though of considerable excellence, it is not the 
best he exhibits. 

No. 34. ‘ Bathers surprised/ W. Etty, R.A. 
This will be remembered as a leading attraction at 
the Royal Academy. It is full of the qualities for 
which the artist is pre-eminent — qualities the most 
difficult of attainment. 

No. 38. 1 Cardinal Wolsey leaving London after 
his disgrace/ S. West. The Cardinal is well 
supported as the principal figure in the picture, 
and the general management of the effect is ac- 


cording to some of the best principles of Art. 
Wolsey is dejected and care-worn : the disgrace is 
powerfully painted, when we remember the cha- 
racter of the “ magnificent English Cardinal ;” 
but, for an English subject, the work is perhaps 
“ Italianized” in manner and in costume ; yet the 
artist is obviously a man of considerable talent, 
and he has directed his efforts into the higher walks 
of Art. The drawing is good, and the colouring 
is excellent. We have no doubt of his occupying 
a prominent station hereafter. 

No. 39. 4 Afternoon/ T. Creswick. Nothing 
in its style ever surpassed the beauty of this pic- 
ture. It consists* of the usual materials employed 
by its author — trees, and water, in addition to 
which there is a cottage. We observe less of 
colour in this and his other works in this exhibi- 
tion than he has heretofore been in the habit of 
using. The afternoon is dull, the sky being 
charged with grey clouds. The whole of the 
lower part of the composition is made out in tones 
of corresponding sobriety. The immediate fore- 
ground is water, broken by rocks, and reflecting 
the surrounding objects on its limpid surface. 
On the right of the picture rises a group of tall 
trees, painted in one unvarying hue of sombre 

f [reen ; yet without the aid of a single accidental 
ight or forced shadow, the masses of foliage are 
divided and beautifully rounded. The severity 
of the style of this picture reminds us of some of 
Ruysdael’s best efforts. Indeed it would scarcely 
subject us to an accusation against judgment and 
taste, if we were to say, we prefer it to most of the 
works of the great oracle of the connoisseurs. It 
is really almost a relief to be able to find some 
fault with a production, on the whole, so admi- 
rable — so very near perfection. The break of 
water in the foreground is “niggling;” as if the 
artist had put it in without reference to the 44 ori- 
ginal ;” and, so, had worked with a timid hand, 
conscious that he was without the assurance of 
reality. The picture is, nevertheless, by many 
degrees the best that Mr. Creswick has yet pro- 
duced — perhaps it is not going too far to charac- 
terize it as the best of the modern English school. 
It will, inevitably, secure the accession of Mr. 
Creswick to the most distinguished position the 
profession can bestow upon him. 

No. 43. 4 Amalfi, from the Garden of the Ca- 

{ mchin Convent, Naples/ J. Uwins. — On the 
eft of the picture is the terrace walk of the con- 
vent, shaded by vines ; and here is the absorbing 
interest of the scene, for it is drawn and painted 
in such exquisite perspective, that the monk who 
is in the foreground must actually move (for he 
is moving) some distance before he arrives at the 
termination of his walk. In all respects, the work 
is a good one ; the young artist has gone very far 
towards establishing a reputation ; he has been 
gradually, but safeiy, improving, evidently with- 
out an overstrained effort; in his genius there has 
been nothing premature; his progress has-been 
well sustained ; and he may now take his place 
among the worthier of his compeers without fear 
that he will lose the character he has gained. 

No. 44. 4 Amsterdam, from Buiksloot Creek/ 
E. W. Cooke. Another of Mr. Cooke’s contri- 
butions ; but not one that we can like ; its tone is 
“dreary.” Of a far better order is No. 56, 4 View 
in the Lake of Haarlem/ which ranges with it. 

No. 45. ‘The Mountain Rivulet/ P. F. 
Pooj.r. A most graceful and pleasant picture ; a 
child is drinking at a way-side rivulet; an elder 
sister, and her guardian, standing by. The face 
of the older girl is heavily coloured, and ineffec- 
tive ; but there are qualities in the picture which 
amply compensate for a defect. 

No. 53. 4 Stirling, from the West-gate of the 
Castle/ W. Colling wood. Very little is seen 
of Stirling — the beauty of the view is the landscape 
distance — one of the sweetest morceaux that can 
be well imagined. 

No. 55. ‘The Reproof/ W. K. Keeling. 
Picturing an old knight, with a letter in his hand, 
“ reproving” the fair girl who leans upon his arm. 
It contains some good work ; but is deficient in 
character and expression. 

No. 63. 4 Windsor Castle, from Bishops-gate/ 
C. R. Stanley. An excellent copy of the old 
familiar “ scene.’’ 

No. 70. 4 A Wood/ T. Creswick. Another 
delicious production by an artist whose works al- 
ways afford enjoyment — either to those who can 
appreciate Art or who love Nature. 


No. 71. 4 The Sisters/ painted at Sonnino, E. 
V. Rippengille. A very striking picture ; two 
young women are Bitting under the shadow of 
huge rooks. The character of their countenances 
is that of vigour and daring ; yet it is clouded by 
a melancholy expression ; the key to which is sup- 
plied by information that they are the daughters 
of 44 the notorious Bandit Gennaro Gasperoni.” 

No. 72. 4 Mary Magdalen/ a study from Na- 
ture, G. Hayter, M.A.S.L. This is a head and 
bust after the style of some of the old masters. 
There is a German mannerism of colour through- 
out the work which is not pleasing : it is, how- 
ever, carefully painted, and fervent in expression. 

It does not, however, by any means convey the 
character we attach to the subject, nor do we like 
the model. 

No. 76. 1 View of the North-side of Edward the 
Confessor’s Chapel in Westminster Abbey/ 
Percy Carpenter. A capital copy of the no- 
ble and beautiful interior ; rendered with a fine 
and true feeling and with marvellous accuracy. 

No. 77. 4 The Bashful Lover and the Maiden 
Coy/ F. Stone. The figures in Mr. Stone’s 
pictures communicate with the spectator as readily 
as those of any modern artist. We see them at 
once through and through without the aid of any- 
thing like broad expression ; in short, he paints 
the motions of the heart with a feeling of the most 
refined sentiment. A damsel tastefully attired in 
the fashion of the latter part of the last century, 
has just crossed a stile at which appears the lover. 
A younger sister of the maiden cedis her attention 
to the hesitating suitor, but she refuses to look 
back, and her confusion is markedly pourtrayed. 
The picture is a sweet passage of poetry ; it may 
be read as well as seen, for a story has been rarely 
told in more expressive and comprehensive lan- 
guage. The landscape is decidedly bad ; the hue 
of the trees is not to be found in nature. 

No. 79. 4 The Jailer’s Daughter/ J. R. Her- 
bert. Another picture of strong passion, from 
the exhaustless store of this author of moving Ms- 
tori ettes. It is small, and consists merely of a 
female figure about to open the door of a prison- 
cell ; but her agony of expression, and the minor 
accessories of the composition, tell a long story of 
profound interest. The cell contains a prisoner 
or prisoners cast for death— for on the door is 
written, in red chalk, 44 Morte.” The time is 
night ; she has traversed the passages of the dun- 
geon without her shoes, and the spectator cannot 
help joining her in the prayer, that the inmate of 
the cell were fairly beyond the prison walls. It 
is, indeed, a most touching and affecting picture ; 
painful to a degree, but evidencing genius of the 
very highest order by the emotions it rouses in 
the breast of the spectator. We lament that Mr. 
Herbert too frequently desires to give pain rather 
than to produce pleasure. He manifests conti- 
nually a powerful mastery over human passions, 
but rarely awakes sensations in which it is enjoy- 
ment to indulge. He must rid himself of this 
morbid ailment of his mind, and give a wider and 
nobler scope to his great capabilities ; let him 
commemorate some remarkable event in history ; 
or immortalize an era in the life of some British 
worthy. We have few living artists so completely 
able to cope with the grand in Art, or to produce 
pictures that shall be in the best sense 44 national.’* 

No. 80. 4 The Outcast/ is by the same master- 
hand — an effort of the same master-mind. This, 
too, is painful, though of high merit as a work of 
Art, and strictly true to the actual, although a 
vigorous imagination has been brought to bear 
upon it. It tells a sad story in language most 
forcible and emphatic ; and a tragic interest is 
given to it by the hand that from the doorway be- 
tokens the utter abandonment of the unhappy out- 
cast who has left the home of a seducer. The 
work is full of pathos, and reads a fine moral. 

No. 85. 4 Leonidas.’ Herbert Smith. Glo- 
ver’s 44 Leonidas” supplies the passage here illus- 
trated — the lines, applying directly to Leonidas, 
are — 

44 The Spartan chief 

Himself o’erlaboured, of his lance disarm’d, 

The rage of death can exercise no more.” 

We would gladly see extended a feeling for Art of 
this class, but we fear that if Hilton’s works were 
unappreciated, there is but little chance for those 
who would follow in the same path. The author 
I of this work displays much power in heroic de- 
| scription. The composition and drawing of tda 

, . n f^oortlp 

ngitizod tyvivru^iv. 



1848 .] 


THE ART-UNION, 


59 


I 


picture are masterly, but it is placed somewhat 
too high for close inspection. 

No. 88. * Cromwell’s Daughter interceding for 
the Life of Charles,’ T. Earl. There are in his- 
tory certain prominent persona so familiarized to 
us in idea, that we can at any time call them up 
in thought before us. Cromwell is one of these, 
and in pourtraying such personages, artists would 
do well to adhere to accepted descriptions. The 
Protector is, obviously, too tall, and is painted in 
a red doublet and gambado boots. The picture 
would have been in better taste had he been 
clothed in sad-coloured raiment. These remarks 
fall from us with a sincere desire to guard artists 
against errors which depreciate the value of their 
labours, and we doubt not that our observations 
will be received as they are intended. 

No. 93. 4 La Somnambula,’ C. Landseer, 
A.R.A. This work is unworthy of the artist 
whose name is attached to it ; it is poor in de- 
sign, in composition, and in colour ; and the sub- 
ject is exceedingly disagreeable. For the sake of 
the artist’s high and deserved reputation it would 
be well to remove it from the wall. 

No. 103. ‘ The Curiosity-shop,’ R. J. Lons- 
dale. A highly wrought bit, very affective. 

No. 104. 4 Visit of Poor Relations,’ F. P. 
Stephanoff. A chapter of every day life plea- 
santly read. An old gentleman and bis wife in 
the enjoyment of every comfort are surprised by 
a visit from a poor female relation. The former 
will be so deaf that it is impossible to make him 
understand the circumstances and pleadings of 
his less fortunate visitor. The old lady sits 
drawn up in mistaken dignity, and deigns not to 
look at her. A pendant to this is No. 105, the 
4 Visit of Rich Relations,' paid to the same couple. 
In the former picture the old gentleman is yet in 
his morning pown ; but he is now carefully dressed 
and not a hair of his wig astray. He is himself 
ushering in his rich relations whom the good lady 
is receiving with every demonstration of the most 
hearty welcome. Mr. Stephanoff’s manner of 
painting is peculiar to himself: it seems to have 
originated in water-colour drawing. We wish that 
his faces had more roundness. 

No. 110. 1 Dancing Dogs,' A. Montague. A 
rich English landscape, possessing considerable 
merit, both of design ana execution. A capital 
group of youngsters are introduced into the fore- 
ground, full of animation and enjoyment, as they 
witness, to them, a most unusual sight. 

No. 111. 4 A Wood Nymph,’ A. Geddes, 
A.R.A. This, although not an agreeable picture, 
completely carries out the artist's design; it is 
rich, luxurious, and abandonne. 

No. 112. 4 Gillingham, on the Medway,’ W. J. 
Muller. A work of the very highest class, and 
manifesting a thorough acquaintance with the 
peculiar attributes of Nature. It is singular that 
the artist should be able to paint landscapes with 
so much freedom, truth, and accuracy, and yet 
rank foremost among copyists of the human form 
and character. We have here a work that may 
class with the best of Constable’s, possessing much 
of the fine quality for which that accomplished 
artist was distinguished; yet, in Mr. Muller’s 
work, there is none of the mannerism which, for 
a time, deprived Mr. Constable of general popu- 
larity. 

No. 115. 4 The Old English Ballad -singer,’ 
W. B. Scott. Although many objections may be 
urged against this work, it is by no means a com- 
mon-place production. On the contrary, it is 
striking and remarkable, notwithstanding its de- 
fects of lowness of tone and scattering of interest. 
The subject was a bold one ; and speaks well for 
the rightly-directed ambition of the painter. An 
old English Ballad-vender is reciting his tales to 
a group of the olden time, in the market-place of 
some village ; the characters of the listeners are 
well imagined and pourtrayed ; it is full of point 
and humour, yet without bordering upon carica- 
ture. We look upon it as a work of good promise, 
as the offspring of a mind of no ordinary capability. 

No. 116. 4 Elizabeth Castle, Jersey, from the 
Causeway — low water,’ E. W. Cooke. This sub- 
ject is treated similarly to Mr. Cooke’s 4 Mount 
St. Michael’ of the last year ; the fortress is in the 
back ground, whence extends forward an expanse i 
of water and wet sand; the latter traversed by | 
parties proceeding in the direction of the Castle. 
The picture is richly coloured, and the effect 
admirably sustained. I 


No. 120. 4 Be it ever so humble, there’s no 
place like Home,' E. Landseer, R.A. This is a 
contritely repentant absentee in the shape of a 
little rough terrier, that has evidently been some 
time astray. His home is humble enough : a 
barrel with a hole in it, his dish is empty and 
broken, and an intrusive snail has written 44 soli- 
tude” at his very threshold. It is difficult to de- 
scribe in words the profoundly imploring expres- 
sion with which the eyes of the dog are endowed ; 
the head is raised, and he looks upwards, as in 
the act of howling. Much of the picture seems to 
have been painted at once ; it has all the clear 
colouring of the best style of its distinguished 
author ; and if scarcely sufficient to sustain his 
great and universal reputation, it would moke a 
character for any other living painter. 

No. 121. 4 The Bride,’ T. Von Holst. The 
last year’s exhibition, of this Institution, con- 
tained a picture by Mr. Holst, to which the Bride 
would be an excellent pendant, being like the 
other, a head and bust painted in shade. The 
back ground is yellow, to resemble the gilding of 
the old masters. The subject is derived from 
Shelley — 

“ Genevra from the nuptial altar went, 

The vows to which her lips bad sworn assent 
Rung in her brain still with a jarring din, 
Deapening the lost intelligence within.” 

There is an independence of manner and a re- 
finement of sentiment in the female heads of this 
artist, which all must acknowledge who can appre- 
ciate deep feeling in Art; the features of this head 
are inwrought with the verse of the poet. It is 
the production of a lofty genius, of a very power- 
ful imagination, and of a deep study of Art. Yet 
we must again complain that the able artist will 
continue to select subjects that inflict pain ; no 
one can look upon this wretched bride without a 
sense of suffering. 

No 125. 4 The Emperor Charles V. picking up 
the pencil of Titian,’ W. Fisk. Such a favourite 
theme is this, that it has occupied the pencils of 
artists of almost every modern school. Jn paint- 
ing subjects so hacknied, artists are unjust to them- 
selves. 

No. 126. 4 Mouth of the River Zaan, with 
Zuyder-Zee, Fishing Craft, &c. — Amsterdam in 
the distance,’ E. W. Cooke.— This is to our mind 
the best of the works which Mr. Cooke exhibits 
this year; it is worthy of him; the tone is mar- 
vellously clear and bright ; the composition grace- 
ful and natural ; the sea as true a copy of reality 
as Art could produce. 

No. 131. 4 A Fairy Tale,’ Mrs. W. Carpen- 
ter. — A young mother reading to her young 
child — a miniature copy of herself. The work is 
beautiful; perhaps the most exquisite production, 
taken altogether, in the gallery. 

No. 135. 4 The Romantic Marriage,’ N. J. 
Crowley, R.H.A. — A work that exhibits con- 
siderable talent ; yet of much too dramatic a cha- 
racter, as if the artist had studied from dresses 
and decorations borrowed from the theatre, rather 
than from nature and fact. The scene, therefore, 
sadly wants reality. Y et it was a bold and praise- 
worthy undertaking ; a proper attempt to grapple 
with a very difficult subject — a subject which His- 
tory records, and the poet has immortalized. It 
is taken from one of the 44 Irish Melodies,” and 
records an incident in the life of a Prince of Des- 
mond : he marries a peasant girl, and the chiefs 
of his clan repudiate and disown him. The mo- 
ment taken is that in which the young lover pre- 
sents his beautiful mistress to the assembly of 
elders, and exclaims — 

44 You who call it dishonour, 

To bow to this flame, 

If you've eyes look but on her, 

And blush while you blame.” 

There are parts of the picture absolutely beautiful ; 
the figure of the hapless bride is exceedingly 
graceful, and a female group in the foreground is 
introduced with happy effect. A little less re- 
dundancy of colour and a more subdued action 
would have placed the picture high on the list of 
excellent works. 

No. 136. 4 The Death of Edward V. and his 
brother Richard, Duke of York, in the Tower, 
1483,’ W. Simson. To this picture may be ap- 
plied our remark under No. 125, as to the choice 
of subject. It must remind (the disposition is, of i 
course, accidental) all who look at it of another I 
picture of the same subject. It is beautifully I 


I painted ; but we lament that the power exhibited 
in it had not been exercised on some other equally 
striking passage of history, to which greater ori- 
ginality might have been given. It is strange, by 
die way, that many artists who have pictured this 
sad incident have chosen to place the boy-princes 
in bed fully dressed. 

No. 141. 4 June,’ T. Crbswick. Another of 
Mr. Creswick's treats, carrying us absolutely into 
the full summer, among the cool and silent places 
that meditation loves, although the gurgling water- 
brook is rushing onward by the side of the solitary. 

No. 142. 4 The Seasons,’ J. Partridge. A 
pretty piece of poetry, neatly and gracefully 
painted, but deficient in freedom and effect. 

No. 143. 4 Interior of Sefton Church, near 
Liverpool,' W. Collingwood. This is a new 
name ; we shall meet it again, and often, here- 
after. The artist is on the right path to fame. 

No. 147. 4 A Shed; Cattle reposing,’ T. S. 
Cooper. A cabinet picture beautifully finished, 
in a style which Mr. Cooper still seems to keep 
to himself ; for year after year passes and no com- 
petitors approach him. 

No. 148. 4 La Lettre d'Angleterre,’ A. T. 
Derby. A sweet portrait of a lady receiving a 
letter from home, in a far land ; but why it should 
receive a French title we are at a loss to guess. 

middle room. 

No. 149. 4 The Will of Mrs. Margaret Bertram,’ 
T. Clater. An incident from Guy Mannering, 
pictured by an accurate observer and a good 
artist. The group assembled to hear and discuss 
the Will, is well and naturally arranged ; the 
countenances express the varied characters which 
the great author has so ably described. The sub- 
ject has been carefully studied, and is painted with 
considerable judgment and skill. 

No. 150. 4 Burning the Water, a scene on the 
Tweed, near Abbotsford,* W. Simson. • An ex- 
cellent work, full of force; boldly and vigorously 
coloured. It represents the sport of salmon 
spearing by fire light, at night ; and has given 
occasion to the artist to manifest his power and 
originality by the effect he has produced in the re- 
flection of the fire upon the water. He has 
wrought with a firm hand; and his picture is one 
that few have equalled. 

No. 151. 4 L’heureux Gourmet,' Madame 
Soyf.r. A clever picture; but by no means a 
pleasing one. 

No. 161. 4 A Study,’ Miss M. A. Cole. A 
very free sketch ; carefully and gracefully drawn ; 
and bearing evidence of much ability though little 
more than a sketch. 

No. 167. ‘The Puritan,’ G. Lance. Thebook 
which the old soldier-saint holds in his hand is 
so well painted that we should like to take it from 
him. 

No. 168. 4 Fruit,' we should covet entire. 

No. 169. 4 Old May Day,* T. Clater. De- 
scribing a pretty old English scene ; and nicely 
composed ; with the character which poets and 
painters both like to give to village 44 swains and 
lasses.’ The work is much too grey in tone. 

No. 170. 4 Near Windsor,’ J. Stark. A fine 
bit of pure English landscape, copied from nature, 
by the skilful, practised, and matured hand of a 
master. 

No. 186. 4 The Brothers,’ F. Grant. A com- 
position consisting of portraits of two children, 
painted with much force and freedom. Mr. Grant 
is always happy in the arrangement and positions 
of his figures. The disposal of hands and arms is 
a matter of some difficulty in portraiture, but in 
this part of his pictures we generally find much 
grace. 

No. 187. 4 The Braw Wooer,' A. Johnston. 
A pretty and pleasant reading of the story, which 
Burns so sweetly tells, of the lassie who affects in- 
difference to tease her lover ; the colouring is thin 
and raw, but the composition is natural and true. 

No. 188. 4 View in Croft Park, Herefordshire,' 
E. Gill. This seems to be a right good land- 
scape, but it is too remote from the eye to be 
judged of without a reservation. The fore-ground 
appears to be painted with much vigour, and the 
distance with great clearness and effect. We are 
mistaken if the artist be not a painter of promise. 

No. 189. 4 May Morning from Milton's Son- 
| net,' J. P. Davis. A work of large size, which, 

| although it undoubtedly reminds one too forcibly 
l of the 44 sitters," and coveys too little a notion of 


00 


THE ART-UNION 


[MARCH; 


the Divinities, bears evidence of a fine mind and 
of a rich fancy. It is conceived with a true poetic 
feeling, and is of a class which few of our artists 
are bold enough to attempt. 

No. 193. * On the Banks of a River, 1 T. S. 
Cooper. Another cabinet picture, in the artist’s 
peculiar, we may add exclusive, style ; a sweet and 
graceful copy of nature. 

[We are reluctantly compelled to divide our notice of 
the British Institution; for we have written at con- 
siderable length, and cannot introduce the whole of it 
without materially trenching upon the variety of our 

contents.”] 

We have desired to notice every work that pos- 
sessed merit, or appeared to promise merit here- 
after — yet how many are we compelled to leave 
unspoken of. If we have remarked upon some that 
may seem to fall under the ban of mediocrity, we 
have been guided by a conviction that it is our duty 
to cheer along an arduous, difficult, and wearying 
path all who are honestly and faithfully toiling 
through the journey. The painters are, like the 
poets — 

“ A simple race who spend their toil 
For the vain tribute of a smile.” 

A word of encouragement is rarely a word out “of 
due season but a sarcasm, while inevitably 
producing pain, may depress even to ruin a mind 
proverbially sensitive. 

We read, with regret, many notices in news- 
papers, the writers of which seem content to 
point out for praise and patronage only the works 
of artists who are indifferent to the one and do not 
need the other; while in some publications we 
observe with exceeding sorrow, a tone of flippancy 
that may annoy, but can do no possible service. 

There is no public writer of prominence and 
ability who has not himself run the gauntlet, 
and borne the bufferings, of life ; it would be well 
it he had, at all times, uppermost in his mind the 
memory of his own sufferings when harshly or un- 
justly rebuked; — as he must have been, some- 
times, when pushing his way towards distinction. 

What a beautiful lesson is that which Uncle 
Toby conveys to us, in picturing the negro girl, 
“ flapping away flies, not killing them’* — 

“ She had riiprred tribulation, Trim, 

AND HAD LEARNED MERCY.” 

Pictures sold at the British Institution:— 116. 1 Eliza- 
beth Castle, Jersey/ E. W. Cooke, Marquis of West- 
minster. 126. * Mouth of the River Zaan/ E. W. 
Cooke, Sir C. Coote, Bart. 44. 4 Amsterdam/ K. W. 
Cooke, T. Baring, F.sq. 1. * View on the River Vecht, 
in Holland/ E. W. Cooke, W. Wells, Esq. 121. 4 The 
Bride/ T. Von Holst, 60 guineas. Duchess of Suther- 
land. 220. 4 A Welsh Stile/ P. r. Poole, 40 guineas. 
Lord F. Egerton. 360. 4 Helmsley Castle, Yorkshire/ 
J. Radford, Lord Faversham. 372. 4 Rivaulx Abbey, 
Yorkshire, J. Radford, Lord Faversham. 264. 4 In- 
dustry/ T. M. Joy, £60, Lord Newborough. 210. 
4 Slave Merchants/ Coke Smyth, 10 guineas, C. B. 
Wall, Esq. 327. 4 Sketch for a Picture of the Good 
Samaritan/ W. J. M filler, .£12, C. U. Wall, Esq. 25. 

4 First Love/ Mrs. W. Carpenter, 30 guineas, G. Hib- 
bert, Esq. 392. 4 Coast Scene/ H. Bright, G. Hibbert, 
Esq. 395. 4 Landscape and Cattle/ H. Bright, G. 
Hibbert, Esq. 195. 4 A Water Scene in Holland/ The 
lute A. Hughes, £28, G. Hibbert, Esq. 193. 4 On the 
Banks of a River/ T. Sidney Cooper, 35 guineas, G. 
Hibbert, Esa. 369. 4 Caistor Castle, Norfolk/ P. Elen, 

5 guineas, T. Baring, Em;. 368. 4 At Yarmouth/ P. 
Elen, 6 guineas, T. Baring Esq. 34. 4 Bathers Sur- 

E rised/ W. Etty, R.A., R. Vernon, Esq. 146. 4 The 
jttle Brunette/ W. Etty, R.A., R. Colls, Esq. 78. 
4 Rustic Cottages/ H. J. Boddington, 20 guineas, J. 
Ludlow, Esq. 49. 4 Scene from Orlando Furioso, J. 
Severn. 341. 4 Riposo Italiano/ J. Severn. 141. 
‘June/ T. Creswick, 45 guineas, Joseph Strutt, Esq. 
70. 4 A Wood/ T. Creswick, 35 guineas, — Rouglir, 
Esq. 39. 4 Afternoon/ T. Creswick, 1 10 guineas, B. 
Smith, Esq. 194. 4 A Quiet Spot/ T. Creswick, 35 
guineas. 439- ‘The Vow/ F. Newenham/ £60, — 
Farrer, Esq. 3. 4 The Pedler/ J. Calcott Horsley. 
187. 4 The Braw Wooer/ A. Johnston. 438. 4 William 
the Third’s Chamber, Hampton Court Palace,” £20 
W. Wellesley, Esq. 417. 4 The Invitation/ J. R. Her- 
bert. 80. 4 The outcast/ J. R. Herbert. 79. 4 The 
Gaoler’s Daughter/ J. R. Herbert. 204. 4 A Visit to 
the Tower/ C. F. Wicksteed, 7 guineas, — Addams, 
Esq. 278. 4 Alpine Sportsmen,* J. Inskipp, 60 guineas, 
— Harris, Esq. 77. ’The Bashful Lover and the 
Maiden Coy/ F. Stone, J. T. Dorringtou, Esq. 8. 
1 Fruit/ G. Lance, 65 guineas. Dr. Young. 257. 
‘ Frank Hals painting the Portrait of Vandyke/ J. D. 
Wingfield, £10, E. Nash, Esq. 65. 4 Cavalier Reading 
Don Quixote/ Coke Smyth. 


VARIETIES. 

Thr Royal Academy.— Charles Barry, Esq., 
architect, has been elected a member of the Royal 
Academy in the room of Sir David Wilkie, de- 
ceased. This election is calculated to give un- 
mixed satisfaction to artists generally and to the 
public at large ; for of Mr. Barry’s high qualifica- 
tions there can be no question. We presume, 
however, it will now be considered that this branch 
of the Arts is sufficiently represented in the Aca- 
demy; and that, for some years to come, archi- 
tects will have to wait until the arrival of their 
time for promotion. The same cannot be said of 
sculptors; we sincerely hope that their share of 
honours will be distributed among those who have 
adopted a profession, the difficulties in which are 
more numerous than those which surround any 
other. 

Mr. Howard's Lectures. — M r. Howard has 
commenced his course of lectures upon painting ; 
a valuable addition to those of Reynolds, Fuseli, 
&c. To these, as to all others here delivered, we 
would earnestly address the attention of the stu- 
dent. A lecture is not simply a “ discourse pro- 
nounced on any subject;” it is the sedulous 
deduction of patient study— the fact acquired and 
elicited by the enlarged experience both of youth 
and manhood. An artist in general possesses a 
mind of imaginative susceptibility ; abstract quali- 
ties he clothes in beauty ; and beauty of form he 
reproduces by variation. Truth, though possess- 
ing all the intellectual greatness of truth, becomes 
to him more peculiarly impressive, from its mode 
of narration. If he detail the moving incident of 
life, he treats it as a subject for the painter. 
Thus, the student, not unfrequently, while . he 
enjoys the beauty of rhetorical Art, increases the 
knowledge of his own. Knowledge assumes a 
thousand forms, 

Mille habet ornatus, mille decenter habet. 
Knowledge of books and man, of the great men 
of his own profession, of the powers of the human 
understanding, their unremitting cultivation, com- 
bined with an earnest and devotional feeling of the 
truths of religion, may be well considered (as they 
have been), the true patrons of an artist’s talent. 
Invention and imitation must enter largely, if not 
entirely, into every composition ; a mind of an 
inapt, low, and uneducated capacity, will do 
neither well, and must rest contented with the 
honours such resources can command. Greatness 
in Art is dependant on its pre-existence in the 
mind. 

The Etching Society.— A society is in 
course of formation — indeed, we believe it is 
already formed— with a view to cultivate for mu- 
tual improvement, and public advantage, a too 
much neglected branch of Art. It consists, we 
understand of 20 members ; and they have already 
fixed upon a place of periodical meeting, at which 
they will consult upon the best means of promot- 
ing their most desirable purpose, exhibit the 
works produced in the mean time, and arrange 
for their proper publication. The subject they 
have selected for illustration is the “ Comus ” of 
Milton — a better choice could not have been 
made ; it is of the purest classic, the deepest 
interest, and as a poem ranks foremost among 
the compositions of the divine poet.* We 
believe it is the intention of the Society 
to fix so moderate a price upon their 
labours, as to enable them to be placed in the 
hands of persons of moderate means ; their great 
object being to improve public taste by submitting 
to it a class of Art, in which merit shall work its 
way alone, without the aid of comparatively mere- 
tricious ornament. We sincerely hope that this 
part of their plan will be persevered in ; to charge 
a large sum for such a work is to do no service to 
the Arts ; it is, indeed, to lay it only before those 
who do not require it, those who have the power of 
procuring the most excellent work that any coun- 
try has produced. In short, we hope — and have 

* The choice is fortunate too, on other grounds. The 
44 Masque of Comus ” is about to be brought upon tbe 
stage at Drury Lane, where, under the able, efficient, 
and liberal management of Mr. Macready, the arts 
have been emplo>ed to advance public taste. Its in- 
troduction at tbe theatre will restore it to its old popu- 
larity ; aud there will be thousands eager to be made 
familiar with it, just at the period when, most probably, 
it will be illustrated by 44 the Etching Society.” 


reason to believe— that “ The Etching Society” 
will be guided more by a wish to promote the 
general taste, and lead “the mass” to an apprecia- 
tion of what is good and true in Art, than by a 
regard to mere pecuniary advantage. We heartily 
wish them success ; and will do all in our power 
to advance it. Next month we shall, probably, 
be in a condition to publish the names of the So- 
ciety ; at present, however, we may remark that 
the list is composed of artists of undoubted 
ability; each of whom holds a prominent and 
honourable rank in his profession, and some of 
whom are among its most distinguished members. 

New Society op Painters in Water Co- 
lours. — The Society have elected five additional 
members: Messrs. Topham, Dodgson, Jenkins, 
and Archer, and Mrs. Margetts. A brief history 
of its course may not be unacceptable to our 
readers. In the year 1831, a Society wa9 formed 
for the Exhibition of Paintings in Water Colours, 
at which all water-colour painters were invited to 
exhibit; indeed, a circular was sent to artists 
generally, although none but works in water co- 
lours were exhibitable. This A ssociation struggled 
through three annual exhibitions, being supported 
by the contributions of nobility and others, as 
well as artist subscribers, a certain number elected 
as a committee being the responsible parties. 
The plan, however, was found not to answer. 
“ The New Society of Painters in WaterColours/* 
as it now exists , dates from 1834, and started with 
about 25 members, the majority of which had be- 
longed to the earlier formation. Their first three 
exhibitions were at Exeter Hall, from which they 
removed to their present Gallery, 53, Pall-mall, 
adjoining the British Institution. It appears sin- 
gular that a Society forming itself of about 25 
members, should have been able to stand the test 
of an exhibition, when only the year before the 
number of exhibitors was I/O. Yet it has con- 
tinued to progress in public favour, and each of 
its annual exhibitions has presented marks of 
great improvement. 

The Art-Union of London. — It should be 
borne in mind that the list of the “ Art-Union ” 
will be closed during the month of March ; per- 
sons desirous of subscribing, but who have not 
yet subscribed, should therefore lose no time in 
doing so. We understand the amount will not 
fall far short of £10,000; and that the drawing 
will be fixed as soon as possible after the books 
have been made up. This year, the print — to a 
copy of which every subscriber will be entitled, 
will be really worth the guinea subscribed. We 
wish to draw the attention of our readers, and of 
artists in particular, to the very important notice 
just now issued by the Committee of this Society, 
and which will be found in onr advertising 
columns. This step has evidently been taken not 
more for the protection of the Committee than of 
all honourable and fair dealing artists themselves, 
who otherwise would compete but ill with the 
jobbing traders in Art, should there be such. 
The Committee, it seems, require an emblema- 
tical device for their reports, &c.; and have offered 
ten guineas for a sketch in outline for the same. 
We are sure English artists will respond to their 
wishes, and provide them with an elegant and 
appropriate design. Mr. Mulready’s picture ‘The 
Convalescent/ and Mr. A. Calcott’s 4 Raffaelle, 
and the belle Fornarina/ are spoken of as subjects 
for forthcoming engravings. 

Utilitarians! p. Fine Arts. — In a recent 
work, “ Notes of a Traveller,” &c., by Samuel 
Laing,the following observations occur,amid many 
others, on the Fine Arts. To transfer them entirely 
to our pages, would be impossible ; but we shall 
endeavour to do strict justice to Mr. Laing by our 
quotations. “ What, after all, is the real value, 
in the social condition of man, of the Fine Arts ? 
Do they contribute to the well-being, civilisation, 
and intellectuality of mankind, as much as the 
cultivation of the useful Arts ? .... Is Rome, 
the seat of the Fine arts, upon a higher, or so 
high a grade, in all that distinguishes a civilized 
community, as Glasgow, Manchester, or Birming- 
ham, the seats of the useful arts ? Is a picture, a 
statue, or a building, so high an effort of tne human 
powers, intellectual and bodily, as a ship, a foun- 
dery, or a cotton-mill ? Raffaelle, M. Angelo, Ca- 
nova, what are ye in the sober estimate of reason ? 
the Arkwrights, the Watts, the Davys must rank 
before yon as wielders of great intellectual powers 






1842 .] 


for social good The Glasgow manufac- 

turer, with his printed cotton handkerchief, has 
extended humanizing influences more widely than 
all the painters, sculptors, and musicians of our 
age put together/* When we first read these ob- 
servations we rubbed our eyes, sent for an alma- 
nac, and very seriously asked ourselves, in what 
century are we living ? Has the Benthamism of 
the nineteenth century reawakened the savage 
ignorance of the Tertullians of the third? Is the 
theory of Monboddo true ? Is man the mere re- 
finement of the ape, a zoological machine, a simi- 
ous being of bones and sinews, from whom the 
mind ana the immortal soul have fled for ever ? 
Cannot Mr. Laing distinguish betwixt a sign and 
a cause ? Does he not know, can he refute the 
fact, that as nations have advanced in civilization, 
the state of the Fine Arts has been invariably its 
indication? Is he so blinded by his paralytic 
vision, which looks only on one side, that he does 
not see the questions he proposes may be retorted? 
As, what has th e factory mill done for humanity? 
What is the state of Manchester, Birmingham, 
the seats of the netful arts ? Is not each the very 
lazar-house of misery, the hot-bed of exotic vice ? 
Why disjoin the useful and the fine arts ; do they 
not civilize by conjunction ? If a picture do not 
tend to form the moral character of a stoker, or a 
mill-owner, will a steam-engine or a spinning-wheel 
so do ? Mr. Laing mistakes the civilizing effects 
of his Glasgow cotton pocket-handkerchief. A 
savage will not use this to hide his nakedness : 
the plantain or the neighbouring bush is to 
him much more familiar. But it is the design , 
the colours blended into form , the admiration of 
what to him is the beautiful , that first attract, 
then modify, the animal propensities of his mind. 
And are all man’s faculties to be limited to the 
useful ? Has he no higher tendency, no greater 
aim ? Is he not endowed with powers various in 
their nature, yet all conducive to his moral and 
intellectual progress ? Civilization follows alike 
the steps of commerce and of war. The very 
passions of society are finally made subservient to 
social good. Were the opinions of Mr. Laing the 
opinions of a common mind, we should pass them 
by unnoticed ; for a blockhead is safe in his insig- 
nificance, as an insect escapes death from the 
recollection that it is 

41 The poor Beetle that we tread upon,” 
or from the unpleasantness casued by its de- 
struction. But he is far too intelligent a writer, 
too accurate an observer of man, too profound 
and original in his views, to think that his remarks 
will not awake the opposition he has challenged. 
Nor can he be said to be as one imitating none, 
and inimitable of any. There is a swarm or Utili- 
tarians who declaim against the loss of capital 
sunk in the National Gallery. We ourselves 
remember a biped of this description; nor can 
we conceal from our readers the dreadful nature 
of his fate. He became, as he stood before us, 
the last of 44 Ovid’s Metamorphoses : — ” 

44 Ille sibi ablatus fulvis amicitur ab alis ; 

Inque caput crescit ; longos que reflectitur ungues; 

Vixque movet nataa per inertia brachia pennas : 

Fceda que fit volucris, venturi nuntia luctua, 

Ionavus Bubo, dirum mortalibus omen. 


Sibilat: hanc illi vocem Natura relinquit.” 

There is nothing so truly degrading as the doctrine 
of an Utilitarian : it is Materialism deprived of its 
ability. As everything ustful is of value to Mr. 
Laing, we humbly trust that the liberality of Glas- 
gow will present him, with at least a wooden 

spoon. For ourselves we shall always in future 
look upon a cotton pocket-handkerchief with pro- 
found respect : it is 44 Laing’s symbol of Glas- 
gow and African civilization.” 44 Let Glasgow 
Sourish.” 

The Exchange Commemoration Medal. 
— Paragraphs have appeared in the newspapers 
respecting the Medal issued by the Joint Gresnam 
Committee on the occasion of Prince Albert’s 
laying the first stone of the New Royal Exchange, 
asserting that the die from which the medals 
were struck was borrowed , and moreover, that it 
was borrowed from the Foreign-office. We really 
did not think this statement could be correct, al- 
though well aware of the low state of feeling in 
this country for medal engraving ; we also con- 
sidered it unlikely that Lord Aberdeen, a reputed 
patron of the Arts, would have countenanced a 


THE ART-UNION. 


proceeding, at once, insulting to Prince Albert 
and degrading to the Arts. We find, however, 
that the charge is substantially true. The Medal 
struck by the Joint Gresham Committee (a speci- 
men of which was buried in the foundation stone 
of the New Royal Exchange, and others were pre- 
sented to the distinguished visitors to the Lord 
Mayor), was engraved by W. Wyon, Esq., R.A., 
for the Secretary of State, sometime since, for the 
purpose of being given as honorary rewards to 
foreigners who should save the lives of British 
subjects from shipwreck ! Now, whatever might 
have been the reason for this absurd and improper 
proceeding, whether a notion of economy were the 
origin, supported by conviction that in the present 
state of the Artp the citizens of London would 
not have acquired penetration enough to discern 
the fraud, or whether the members of the com- 
mittee are absolutely so void of taste and a sense 
of propriety and fitness, as to have considered that 
so important an event as that of the 17th of Jan- 
uary might be recorded by medals from an old 
die as well as from a new one ; or whatever might 
have been the real cause, the fact cannot be made 
too public, nor the practice too strongly depre- 
cated before it becomes a general rule. If this 
decision of the committee, to borrow works of Art 
instead of employing artists, be permitted to stand 
as a precedent, we shall soon hear of hiring dies 
for medals or borrowing them for all occasions 
on which it may be thought necessary to engrave 
and strike medals.* 

Bielefeld's Papier Mache. — Though the 
scope of this journal would be inadequate to the 
notice of every invention in this prolific age, and 
though such notices, when unconnected with Fine 
Art, may be considered somewhat out of place, 
we hold it most peculiarly our province, and to 
the direct advantage of the public and Art itself, 
to scan closely the merits or demerits of works 
devoted, both to the common and refined pur- 
poses of every day life, in which shall be involved 
Fine Art. Thus a chair of gold or ivory, or a vase 
of a precious stone, not possessed of classic or 
beautiful form, fails in becoming an object of ad- 
miration to those of a refined and cultivated taste ; 
wealth misapplied can command the one, and mis- 
directed perseverance and care produce the other; 
while the commonest materials, wrought by a 
master mind, at once into objects of general utility 
and refined taste, deserve a warmer and more 
earnest introduction to the public than they could 
find in the show-room of the manufacturer. It 
is with this feeling that we would direct pub- 
lic attention to the papier mache works of Mr. 
Bielefeld, Wellington-street, Strand, under whose 
spirited direction the material has attained 
a state of perfection never anticipated. Its 
strength exceeding that of wood, and durability 
in any state of atmosphere, have ceased to be 
a matter of doubt, and it is applied with equal 
success in either internal or external decorations. 
In distant objects, such as cornices, capitals, 
ceiling centrings for rooms, and the highly 
wrought frieze, it has worked for itself a high and 
deserved reputation ; but, independently of this, 
it possesses some rare artistic qualities, which are 
lost at the height of a room or the summit of 
a column ; and with these qualities we are 
likely to become more intimately acquainted, as 
the proprietor is devoting his energies to the 
production of some picture-frames, which bid fair 
to rival the best carving in wood ever applied 
to the same purpose, while it leaves very far be- 
hind four-fifths of the carved frames which, at great 
cost, have of late years been removed from the 
lumber-rooms of the broker, and injudiciously 
made to deform the walls of the modern mansion. 
The frames of Mr. Bielefeld present the best 
characteristics of fine carving, the course of the 
chisel, though subdued, is everywhere apparent, 

•The obverse die, which the Committee borrowed, 
has the Queen’s head with her titles in Latin, to this 
was appended a plain and poor inscription in English 
merely giving the date of laying the first stone. We 
have just received a very beautiful medal— one of the 
best medals of modern times— from Mr. Stotbard; 
designed to commemorate, in a manner worthy of it, 
the important event of January 17. The Portrait of 
Prince Albert was, we believe, engraved from several 
sittings kindly and graciously given him by His Royal 
Highness. The fraud of the Committee appears still 
more culpable, if it be true, as we believe it is, that this 
medal was offered to them, upon very low terras, and 
declined on the ground of economy. 


61 


and the liberal resort to undercutting, and occa- 
sionally nearly alto relief, realize the peculiar 
finesse and spirit of the best manipulists amongst 
the old carvers in wood; substituting, for the dull, 
prim, and mechanical mediocrity of works in putty 
composition, an easy, liberal, and artistic dex- 
terity in the execution, which must be appreciated 
by every lover of the excellent. They may be re- 
commended also on other grounds ; when con- 
veyed from place to place (to Provincial exhibi- 
tions, for example), they are liable to no injury 
from chipping, as the common frames are; we 
have seen the effect of a picture entirely ruined in 
consequence of the frame being shattered during 
transit. An essential advantage also is, that these 
frames weigh no more than half the weight of the 
usual frames of the same sizes. We strongly 
urge upon artists to visit this establishment, and 
examine for themselves. 

Capt Tayler’s Floating Breakwater. — 
This admirable invention advances undeniable 
claims to public notice, as well upon its various 
merits, as upon the grand score of expense. It 
is constructed of frame-work, or cassoons of tim- 
ber, so moored as to meet the breakers to which 
it yields ; but at the same time so subdues their 
violence, that the entire space enclosed by a line 
of such breakwaters becomes perfectly smooth. 
A main objection to piers and stone breakwaters 
is the accumulation of sand and mud which thev 
generate, to the detriment of every harbour which 
thev are employed to protect. It will readily be 
understood that the floating breakwater is free 
from such objections. In its employment upon 
dangerous coasts, in the construction of harbours 
of refuge, its advantages are apparent, as these 
cradles or frame-works could be laid down and 
secured when no other means of forming harbours 
exist. To the expense we have already alluded ; 
from its construction it is evident that it could be 
made and kept in repair at a twentieth of the ex- 
penditure of ordinary stone breakwaters. 


Sales of the Month, Past and to Comb.— 
Messrs. Christie and Manson sold, on the 12th ult., a 
collection of the works of the late J. A. O’Connor, Esq. 
The pictures were small, and generally without frames, 
consisting of the simplest material8— a tree or two in 
the foreground, with, perhaps, a glimpse of a sweetly- 
painted distance, for in such components alone lay the 
simple magic of O’Connor’s art. The sale was for the 
benefit of the widow, and we have great pleasure in say- 
ing that the pictures realized as much as was expected. 
On the same day were sold, ‘A View on the River 
Dort,* Cuyp, je31 10s. ; * A Party playing at Blind- 
man’s-buff,* Pater, j£ 48 6s.; 4 Interior,* Teniers, 

j6*45 13s. 6d. ; 4 Portrait of a Venetian Senator,* P. 
Bordone, j£M 8 6s.; 4 A Muse,* Domenichino, jff42; 
4 Portrait of the Mother of Titian,* Titian, j£ 29 8s. ; 
and 4 Portrait of Henrietta Maria,’ Vandyke, ^525.— 
Messrs. Christie and Manson will sell by auction the 
remaining pictures, sketches, &c., of the late Sir David 
Wilkie, in the month of April ; a sale which must ex- 
cite more interest than any that has for years taken 
place. 

Mr. Phillips, on the 22nd ult., sold the pictures of 
the Count d’Arguil, which had been imported from 
Brussels ; as also another collection, among which an 
4 Interior of a Cathedral,* by Neefs, returned 23 gui- 
neas; 4 A Frost Piece, with Figures Skating,’ Vander- 
neer, 184 guineas ; 4 A Hawking Party halting at a 
Chateau,* 25 guineas ; 4 The Apostles* (from the Mellini 
Gallery), Agostino Caracci, 314 guineas.— Mr. Phillips 
will shortly dispose of a third consignment of the pic- 
tures of Allan Gilmore, Esq. ; on the 8th inst., of those 
of Charles Collins, Esq. ; and on the 23rd and 24th 
inst., the extensive collection of M. de St. Denis, late of 
Paris, deceased, consisting chiefly of works of the 
Dutch and Flemish mastors, and among which are 
many valuable paintings. 

Messrs. Foster and Son will, in the early part of the 
month, dispose of a few specimens of the works of 
Nielli, of which there exist but very few specimens in 
this country. There is in the British Museum a cup 
curiously wrought and engraved by this artist. The 
works in question, as curiosities of Art, we trust to be 
enabled to describe next month. 


j °°S le 



62 


REVIEWS. 

Mansions of England in the Olden 

Time. Third Series. By Joseph Nash. 

Published by T. M’Lban 

Already so well known is this work from the emi- 
nent merits of its first and second series, that it 
is unnecessary to accompany our announcement 
of the appearance of the third with any at- 
tempted estimate of its value to art and science. 
In the key which accompanies the volume, Mr. 
Nash acknowledges the encouragement extended 
to him in the “lively interest evinced in the pro- 
gress of his labours, and the many personal atten- 
tions shown him by the possessors of the man- 
sions already visited by him.” He adds, that 
“ every successive journey has made him ac- 
quainted with more unlooked for relics of the 
architectural splendour of the old Baronial halls 
and manor-houses, and he has no doubt that there 
exist many yet to be brought to light of fully 
equal interest to those already before the world.” 
We sincerely hope be will not relax in his labours 
until he has brought forward everything worthy 
of his pencil, and of assorting with his pre- 
viously published sketches. Many of these 
antique abodes are notable in history ; others 
have been the temporary abode of kings during 
their periodical progresses and provincial excur- 
sions ; and others are remarkable as associated 
with the memory of many of the great and noble 
of our land. The artist gives increased value to 
his work by the addition of figures habited after 
the fashions of the times in which flourished the 
early possessors of the mansions they appropri- 
ately inhabit. 

The views are in number twenty-six, of which 
the two first are at Burleigh, in Northamp- 
tonshire, the magnificent seat of the Cecils, 
now the property and residence of the Mar- 
quis of Exeter. This mansion was built princi- 
pally by the Great Lord Treasurer Burleigh, 
Detween the years 1577 and 1583. The design 
has been attributed to the English architect, 
John Thorpe, as also to John of Padua. The 
first view is the Inner Court the most striking 
feature of which is the Clock Tower surmounted 
by a spire. From the entrance beneath, a train of 
visitors are entering the quadrangle headed by 
Queen Elizabeth, wno is escorted by the Lord of 
the Mansion. 

The Gallery at Lanhydroc, Cornwall (No. 6), 
affords a view of one of the most elaborately orna- 
mented ceilings in existence. A range of pendants 
occupy the centre of the ceiling, the remainder of 
which is divided into compartments, each contain- 
ing a scripture subject, and the smaller spaces are 
filled with birds, quadrupeds, and florid orna- 
ment ; the whole forming an unequalled mass of 
curious detail. Lanhydroc is in Cornwall, near 
Bodmin, and is an ancient quadrangular building 
of no exterior interest. No. 7, is the Staircase 
at Aldermaaton, Berks, the seat of .W. Congreve, 
Esq. The house was built in the reign of Charles 
of First, of whose period it is an excellent 
specimen. This is a beautiful plate, extremely 
clean and effective in its execution. The balu- 
strade is richly carved, and the massive piers in 
the landings support mythological ana other 
figures boldly carved in wood. Athelhampton, in 
Dorsetshire, (plates No. 8 and 9), is highly in- 
teresting as a fine specimen of ancient English 
architecture. No. 8 is the Court Yard, and the 
following plate is the Hall ; around the walls of 
which hang the trophies of the chase and the 
trappings of war — antlers, coats of mail, lances, 
swords, and high above all these the armorial 
banners of the house. The Drawing Room at 
Chastleton, Oxon (plate No. 12), is one of the 
finest subjects for this department of Art that we 
have ever seen. Chastleton was built in the reign 
I of James the First, and is now the property of 
Whitmore Jones, Esq. ; the entire panelling of 
the room is tastefully and profusely carved, and 
above the range of the windows are set apparently 
portraits in oval frames. This is followed by two 
views at Hatfield, the property of the Marquis of 
Salisbury. The latter of these is the Long 
Gallery wherein is pictured the “ Ceremony of 
the Christening of the Child of the Earl of Salis- 
bury,” to which King James the First and his 
Queen stood sponsors in 1616. Plate No. 15 is 
Charlcote, in Warwickshire, the seat of George 


THE ART-UNION. 


Lucy, Esq. ; and the figures introduced are those 
of Sir Thomas Lucy, his keepers, and Shakespere, 
the last being in custody for deer- stealing, having 
been seized flagrante delicto. Nos. 16 and 17 
are supplied from Hampton Court, being the Hall 
and the Presence Chamber. So well known are 
both of these that no description from us is ne- 
cessary ; but we are bound to speak of the high 
character of the artist’s labours. Mr. Nash pre- 
sents to us this magnificent interior as supposed 
on the occasion of the grand banquet given to the 
French Ambassadors by Cardinal Wolsey who sits 
at the extremity of the Hall, and is in the act of 
drinking to the healths of the Kings of England 
and France. This is an admirable plate, executed 
in the perfection of its style. Among the remain- 
ing subjects are, the Drawing Room, Dorfold, 
Cheshire; Porch, Montacute, Somerset; Hall, 
Penshurst, Kent ; ComDton Wynyate, Warwick- 
shire; Bramhall Hall, Cheshire, &c. &c. 

It is the picturesque character of such relics 
as these that has given rise to the much-loved 
style of Art, which the French term the rwoyen- 
age — being compositions consisting of figures 
costumed and circumstanced according to the 
spirit of earlier times. We are only surprised 
that a work of this kind has not been undertaken 
before ; we, however, congratulate all admirers of 
such antiquities that the blank is to be filled up 
by an artist so accomplished as Mr. Nash. 


The Hand Book of the Public Galleries 

of Art. By Mrs. Jameson. Published by 

John Murray. 

Amid the growth of Institutions for the exposition 
of ancient and modern Art, something like this 
has been wanted for the purpose of communicat- 
ing, in the readiest mannner, a little common in- 
formation regarding painters and pictures. The 
work appears in two volumes, the first of which 
contaius an Introduction, catalogues of the Royal 
Galleries of Windsor, and partially of Hampton 
Court. In the second, Hampton Court is con- 
cluded, and followed by descriptive notices and ca- 
talogues of the Dulwich Collection, Barry’s pic- 
turesin the Adelphi, and Sir John Soane’s Museum. 
In the introduction, are devoted some pages to 
explanations of terms of Art, such as manner, 
composition , &c. *cc. Such definitions to artists, 
and even to those but little learned in Art, are use- 
less ; but as a hand-book for the public, rather than 
for artists , it can be understood that it was 
necessary to make the work as perfect as possible. 
As the introduction advances, it becomes a com- 
pilation of the criticisms and opinions of some of 
the most eminent men who have given to the 
world the results of their experience and obser- 
vation ; Reynolds, Richardson, and Barry speak, 
and we have the sentiments of Price, Shelley, 
Hazlitt, &c. &c. : here, consequently, may the 
painter learn something if even he be gray in his 
Art ; for though he may have read again and again 
these very passages in the treatises of which they 
form part, yet in the form in which they are 
here presented to us, they are agreeably easy of 
remembrance. 

In speaking of the origin of the Royal Galleries, 
Mrs. Jameson briefly reviews the progress of Art 
in England, down to the present time, and with 
abundant reason laments the confusion arising 
from the manner of hanging the pictures at 
Hampton Court, works of all schools and all pe- 
riods being indiscriminately mixed ; we join the 
lady most cordially in her complaint. 

As containing catalogues of the Public and 
Royal Galleries in and about London, the compi- 
lation will be found useful and interesting, as well 
to artists as to lovers of Art. 


Hawking Party in the Olden Time. 
Painted by Edwin Landseer, R.A. En- 
graved by C. F. Lewis. Published by Henry 
Graves and Co. 

The subject of the picture from which this print 
is executed, is such as could be entertained by 
none other than a most able master of expression. 
To paint the death-struggle of a heron in the 
talons of a hawk is a daring experiment; this alone 
being the picture. It is, however, in challenging 
and triumphing over such difficulties that substan- 
tial power is declared. The hawk and his quarry 
are near the ground, the heron almost dead, and 


[March, 


the other still cleaving to and lacerating it with all 
the fierceness of its nature. The contrast be- 
tween the two birds exhibits the hawk not a whit 
better than his evil reputation ; in his eye there is 
a living intensity which proclaims aloud the cha- 
racter of a fell destroyer ; and in this it is where 
chiefly centres the surpassing greatness of the 
artist. The head of the neron is falling, the neck 
is lax and the wings are nerveless and flaccid ; but 
the pith of the description is again in the eye 
whicn is dim and closing in death. The plumage 
of the birds is engraved with the nicest distinction , 
that of the hawk being short and crisp, while the 
ruffled feathers of the dying heron are longer and 
lighter. The birds are about to fall upon a knoll 
behind which we see approaching “ the hawk- 
ing party,” an old knight, his daughter, and 
others riding at full speed, and accompanied by 
the falconer with his tray of hawks. The back- 
ground on the left of the picture bears a dark and 
stormy aspect ; but on the right the distance 
opens, ana we see the castle whence the party 
have set forth on their expedition. This engrav- 
ing is in mezzotinto, and cannot fail to have 
attracted the attention of all who appreciate such 
refinement in Art as is demonstrated in this work. 


His Grace the Duke of Wellington. Pain- 
ter, H. W. Pickersgill, R.A. Engraver, 
J. E. Wagbtaff. 

Of the scores of portraits of the Great Duke we 
have been called upon to examine, from time to 
time, we question if there be one, altogether, more 
satisfactory than this ; it is excellent as a likeness, 
very admirable as a picture, and of rare merit as 
an engraving. The Duke has been copied when 
but a very little advanced beyond his best time ; 
when scarcely passed the prime of his vigorous 
manhood ; when moral energy and intellectual 
strength marked every line of his features. He is 
pictured, too full length, as the soldier — the cha- 
racter in which posterity will most love to know 
him — standing upon one of his glorious battle 
fields. By his side is an attendant bearing the 
British standard ; the hat is off, and in his nand 
he holds a telescope. The painter has, therefore, 
mixed a passage of poetry with his veritable tran- 
script of a fact ; and added to his own acknow- 
ledged genius, was the stimulus received from the 
honour of painting such a subject. He has suc- 
ceeded, therefore, in producing a picture that 
ought to live, and will live, for ages. The en- 
graved copy is, in all respects, admirable. In his 
own peculiar and most excellent style few, if any, 
of our English engravers surpass Mr. Wagstaff. 
We regard this portrait as a valuable contribution 
to the nation, and rejoice in the possession of so 
fine a work of Art and so true a resemblance to 
the great original. 


King Charles I. in the Guard-Room. 

Painted by Paul Delaroche. Engraved by 

George Sanders. Published by James 

Budd and Co. 

The painting, after which this engraving has been 
executed, is in the collection of Lord Francis Eger- 
ton. The immediate subject is derived from 
Sanderson’s “ Life of Charles I.,” and represents 
the unfortunate King surrounded by the brutal 
soldiery to whose custody he was committed after 
condemnation. The substance of the picture lies 
in the following passage — “ That one defiled his 
venerable face with spittle, I abhor to say it, was 
wittingly done, but we are assured he wiped it off 
with his handkerchief ; they puffed tobacco fame 
(no smell to him more offensive), and cast their 
tobacco-pipes at his feet.” 

The composition consists of thirteen figures, 
every one of whom contributes his quota to the 
circumstances of the event. The main interest of 
the work is well settled on the king, who is habited 
in black, and faces the spectator. He has sought 
refuge in reading, which last solace even is denied 
him, for in their barbarous triumph the soldiers of 
the Parliament heap upon him every insult they can 
in their malicious ingenuity devise. One is puffing 
tobacco smoke in his face, while another is shout- 
ing in his ear some toast to the downfal of kings, 
or success of republicanism. The personal points 
of the king are well made out, and in the coun- 
tenance we read a catalogue of woes. W e cannot 
help remaking the pose of the figure — it is highly 


Digitized by v joogle 



1842 .] 


THE ART-UNION. 


63 


expressive of the resignation of fallen majesty — 
the head is slightly tamed in reproach to the man 
who is insulting him with the tobacco smoke, but 
it is turned in relation to the other position ob- 
served in reading the book. Delaroche has in- 
tended this to be the grand natural effect of the 
work, and it is so undoubtedly. The engraving is 
clear and spirited in the foreground parts and 
grouping. 


Napoleon. Painted by Paul Delaroche. 

Engraved by Aristide Louis. Published by 

Henry Graves and Co. 

This portrait of Napoleon is an identity of the 
man in person and character. Delaroche has read 
his subject more accurately than any of the artists 
of all nations, even with Canova at their head, who 
have given to the world their various semblances 
of this extraordinary man. French artists gene- 
rally have painted him in a style too epic — rather 
as a hero of romance than as an actor in grave 
history ; and, in making him at all times play 
to the national vanity they satirize themselves, 
and give their great captain no credit for greater 
capabilities. He was adored as the mere soldier, 
and consequently painted as such; and to ex- 
press sufficiently the profound devotion of his 
followers, he was constantly represented surrounded 
by men expiring in the act of embracing his knees, 
or saluting him with their last breath. Such cir- 
cumstance is too dramatic for a portrait of 
Buonaparte, although no portrait otherwise treated 
would nave been so popular during the tide of his 
success: it is also too superficial, as pertinent 
only to the relations between the soldier and his 
leader. As a despiser of dull ceremonies, the 
Imperial robes of France become him less than 
the “ redingote grise” which he wears iu the 
Place Vendome; and this, perhaps, he himself 
was aware of, since he took pleasure, when even 
surrounded with crowned heads, of reminding 
them that they were in the society of a quondam 
lieutenant of the regiment of La Fere. 

The head of this portrait was painted by Dela- 
roche during the hundred days, and finished by 
him afterwards, by desire of the Buonaparte fa- 
mily. He is represented in his closet, but stand- 
ing, and in the position in which he has already 
so often been drawn. His left hand is cast behind 
him, and holds the snuff box to which he fre- 
quently applied under excitement, or when oc- 
cupied in deep thought . and the right hand rests 
within the waistcoat, which is unbuttoned to ad- 
mit it. The costume is, as usual, the closely 
buttoned coat faced with white; but the entire 
interest centres, as it ought, in the head, and 
never was a head invested with more charac- 
ter. Writing materials are before him, and he is 
undoubtedly occupied with the plan of his last 
campaign; and the anxiety of his position is 
written in every feature. Nothing can exceed the 
intensity and power lying within the shadow of 
the eye; every muscle of the countenance is 
braced; the entire expression is fully up to the 
occasion; for 44 Europe in arms,” and * 4 Water- 
loo" are distinctly written there. 

The engraving is superbly executed in line, and 
in a manner much softer than the knife-edge style 
of which the French vaunt themselves so much : 
it is, in short, one of the finest works of Art that 
we have ever seen. 


Rachel. Painted by E. D. Smith. Drawn on 
stone by R. J. Lane, A.R.A. Published by 
| the Artist, 7, Hertford- street, May Fair, and 

! Maclean. 

I Rachel is here represented in one of her most 
I celebrated characters, that of Camille, in Cor- 
I neille’s tragedy of “ Horace, ” or “ Les Horaces,” 
as it is by an extraordinary licence termed in the 
French play-bills and advertisements. She is 
represented in the white robes of a Roman virgin, 
and the entire bearing of the figure is rather that 
of real life than of theatrical portraiture. In mo- 
dern stage portraits artists frequently fall into the 
error i or painting the actor as enouncing some 
passionate sentiment demanding a corresponding 
action, and thus frequently exaggerate the gesture 
and expression to a degree beyond the limits 
where natural truth terminates and caricature 
begins — even when such passages are most hap- 
pily illustrated, the compliment is paid rather to 
the author than the actor. In the present case 


the artist has eschewed a representation of acted 
emotion, having selected the time when Camille, 
after the interview with her father, determines, 
even amid the universal joy, to lament the loss of 
her iover. 

“ Eclatez mes deuleurs & quoi bon vous contraindre? 

Quand on a tout perdu que saurait-on pluscramdre? 
Nothing can exceed the fidelity with which the 
character of the head is maintained — the features 
are so perfect in resemblance, that they recall the 

{ >resence of the actress as she appeared during her 
ate engagement at her Majesty’s Theatre. Of 
the lithography it is enough to say that it is in 
the best style of Mr. Lane. We agree with Mr. 
Smith, that a theatrical portrait must not of ne- 
cessity be an extravaganza in art. This work 
must add to his already extended reputation. 

The Tired Huntsman. Paintedlby Charles 
Landseer, A. R. A. Engraved by H. C. 
Shenton. 

This is the print presented by the Art-Union of 
London to its subscribers of 1840. The compo- 
sition consists of two figures — dogs, and objects 
incidental to the abode of a man devoted by habit 
or vocation to the chase. A fire is glowing on the 
antique hearth, and before it is extended, in sleep, 
the hunter — subdued by the toils of the day. He 
is lying upon a bear-skin, which two dogs, his 
companions in the field, share with him. His 
wife sits anxiously watching him, and at the same 
time is rocking a cradle by her side. The artist 
has told his hUtoriette gracefully, and perhaps 
made the most of it : the sentiment is an effective 
one, and the accessaries are tolerably well distri- 
buted ; but 4 The Tired Huntsman ’ is not of that 
standard of Art which should be the care of an 
Art-Union, being of a school of painting which 
has been too indulgently fostered in England. The 
class of Art to which it belongs has rivetted a taste 
which ought to have soared bevond this, and set- 
tled upon something higher. f fhe engraving is in 
the line manner, and is executed by Mr. Shenton 
in a style most judiciously tempered by the cha- 
racter of the several objects to be represented ; it 
is in short engraved with a skill and success sel- 
dom surpassed. 


Etchings of the Runic Monuments in 
the Isle of Man. By W. Kinnkbrook. 
Published by Longman and Co. 

The author of this work, with much industry, 
has etched twenty-six plates of the Runic Crosses 
of the Isle of Man ; to which he has prefixed a 
brief essay, and some judicious notes. These 
relics are among the most curious antiquities 
of our islands ; and we join Mr. Kinnebrook in 
lamenting that, having survived during, probably, 
900 years, and through ages less civilized than this, 
any of these remains should be ignorantly broken 
up and disposed of as common stone. They are 
elaborately, but of course rudely carved, some 
being covered with hieroglyphics and others with 
florid ornaments. Some bear Runic inscriptions, 
which are read from the bottom upwards ; from 
which it is assumed that the crosses have been 
erected in memory of deceased persons of dis- 
tinction. The legends, as here rendered, seem to 
contain here and there a corruption of a Latin or 
a Saxon word ; the rest is made up of rugged and 
hard-mouthed Scandinavian with strings of im- 
practicable consonants. The Runic character is 
supposed to have been introduced into Europe 
before the birth of Christ, and these remains, it is 
presumed, are the work of the Norsemen who 
seized the Isle of Man about the end of the ninth 
century. The history of these crosses, and the 
characters inscribed upon them, would involve 
portions of that of Asia and Europe, before and 
during the congests of the Romans. It was em- 
ployed by the Goths and by the ;Saxons, before 
their conversion to Christianity ; and some Asiatic 
nations engraved in it the exploits of their heroes 
on rocks. The crosses and their ornaments are 
carefully etched, so carefully and perfectly to their 
style and ornaments. 


Lord Stanley. Painted by H. P. Briggs, 
R.A. Engraved by Henry Cousins. Pub- 
lished by Agnew, Manchester. 

Lord Stanley is represented standing in an atti- 
tude of fixed attention, and although the back- 
ground be no part of the House of Commons, yet 


he may be supposed to be meditating a pungent 
reply to some member on the “opposite” side of 
the house. The portrait is a half-length, and per- 
fectly simple in its arrangement and circumstance , 
the figure is erect, with one hand resting on a 
table and the other carelessly supported by a rib- 
bon to which attached an eye-glass. The en- 
graving is mezzo tinto ; and we must express our 
admiration of the skill with which the figure is 
brought out, without its subdued breadth being 
broken by any forced lights. 

Italy — Classical, Historical, and Pic- 
turesque. By William Brockedon, Esq., 
F.R.S. Published by Duncan and Malcolm, 
Paternoster-row. 

We have of late years read and seen much of 
Italy ; but we are yet content with any judicious 
quotation of it, from the days of the Medici and 
the 44 liberal Popes,” back to those of the Cuesars ; 
and from them again to the old time before them 
— that of the Etruscans. Of the work bearing 
the above title we have to speak of the first part, 
which contains three plates, with descriptive let- 
ter-press. Modern Italy is the subject of the 
views ; but the descriptions being entitled “ his- 
torical,” &c., the thread of description is taken 
up from the earliest records. The first view is 
that of St. Peter’s, from the Janiculum Hill, 
drawn by David Roberts, from a sketch by East- 
lake. This is perhaps the only point of view 
whence this magnificent structure is seen in its 
true grandeur. The second view is that of the 
port of Ancona, drawn by W. Brockedon, and 
engraved by J. Cousens. The third is that of 
Leghorn, drawn by W. Brockedon, from a sketch 
by Admiral Sartorius, and engraved by W. Bran- 
dard. In Leghorn itself there is but little worthy 
of the pencil. This view is taken down the coast 
to the northward, the city of Leghorn being five 
miles distant : the view is closed by the high backs 
of the mountains of Carrara, looking over the ma- 
remama of Pisa. The plates are beautifully en- 
graved ; and the work is altogether worthy of its 
distinguished author. 

Figures from Pictures in England by 
Claude, &c. Drawn and Lithographed by S. 
Bendixen. Published by Colnaghi and 
Puckle. 

The number of subjects contained in this volume^ 
is 24, being eight from known works of each of 
the three esteemed painters— Claude, Watteau, 
and Canaletto. The figures are from pictures in 
public galleries : of the eight from Claude, six are 
extracted from his works in the National Gallery, 
and two from those in Dulwich Gallery. The 
figures of Claude, like those of Rembrandt and 
other celebrated masters who have painted effects, 
are generally merely secondary or accessory, and 
so treated with less care than if they had been the 
pictures. Thus the figures of these masters were 
remarkable for their want of grace, which, in an 
extract of the bare figures, would be yet more con- 
spicuous. In the work before us, the artist has 
most judiciously accompanied the figures with a 
snatch of the composition in which they are found, 
and has wrought up the effects to a close imitation 
of the original pictures. The figures of Watteau 
are full of grace ; they were painted after unmade- 
up nature. The draperies of his ladies, and the 
coats of his gentlemen, were perhaps too much 
elaborated into folds, but they are elegant, and 
those in the present work are well selected ; they 
are principally from pictures in Dulwich Gallery. 
Those from Canaletto are in the National Gallery. 
Each plate is set in a florid border, inwrought with 
fragments of the various compositions whence the 
figures are taken. 


Rustic Architecture. By T. J. Ricauti, 
Architect. Published by James Carpenter, 
Old Bond-street. 

Picturesque rustic architecture iB the subject of 
this book, and it is treated in a very intelligible 
and straightforward style. The materials employed 
by the author are rough wood, thatch, &c., and 
he recommends his work to the attention particu- 
larly of the inhabitants of America. The illustra- 
tions are 42 in number, consisting of plans, eleva- 
tions, sections, perspective views, &c. &c. These 
plates in all form six designs for cottages and small 
residences, any of which may be adapted for an 
out-door member of a gentleman’s establishment, 


itized by V 



64 


THE ART- UNION, 


[March, 


or for a small private family. The letter-press is 
abundant, clear, and explicit ; so much so as to 
render this kind of architecture practicable to in- 
dividuals located where the assistance of an archi- 
tect is not attainable. 

Sketches in Norway. Drawn by Bruce 
Skinner, Esq. Etched by W. J. Black- 
lock. Published by J. Robinson, High 
Holborn. 

Norway is a part of the world of which we hear 
and know less than of countries much more re- 
mote ; but judging from the sketches before us, it 
holds out many allurements to the lover of the 
rude sublimities of nature. The rough-cast face 
of this northern land is here represented with 
much force ; and we are at once struck with the 
want of human habitations, which constitute in a 
great degree the substance of the scenery of south- 
ern countries. The landscape is composed of the 
varied features of lake and mountain — glaciers, 
which the foot of man never trod, and wild abysses 
into which the sun never shone. 

These glimpses of the far north have been se- 
lected with a pure feeling for the picturesque, and 
some of them compose admirably and remind us 
in their character of Switzerland. The etching is 
generally clear and spirited, and in some of the 
plates particularly fine. 

The Complete Guide to the Fine Arts. 

Published by W. Brittain, Paternoster-row. 
This little volume is stored with information upon 
almost every subject connected with Art. Portrait 
painting is here described, from the setting of the 
palette to the finishing touches of the work ; as 
also is landscape painting, both being accom- 
panied with recipes for mixing colours, &c., &c. 
Among the subjects treated of are crayon and 
water-colour painting, picture cleaning, engraving 
on wood, &c. &c. 

Conference between Commodore Sir J. J. 
Gordon Bremer and Chang the Chinese 
Admiral. Drawn by Sir Harry Dauell, 
Bart. Lithographed by J. N. Lynch. Pub- 
lished by Messrs. Colnaghi and Puckle. 

This conference took place on board her Majesty’s 
ship Wellesley, on the 4th of July, 1840, the day 
before the taking of Chusan. With Sir J. J. G. 
Bremer there are present, Sir Harry Darell, Ma- 
jor-General Burrell; Captain Maitland, of her 
Majesty’s ship Wellesley; Lord Jocelyn, military 
secretary to the mission; and Mr. Gutzlaff, Go- 
vernment Chinese interpreter. On the part of 
the Chinese there are portraits of Chang, his flag 
captain, and of a number of mandarins. As the 
drawing was made on the spot, it may be con- 
sidered a faithful representation of Chinese official 
costume. 

Redcliffb Church. Drawn by J. B. Surgey. 
Lithographed by G. Hawkins. Published by 
George Davey, Bristol. 

In this view the church is not seen as from the 
street, but from behind the houses in Redcliffe- 
street. The structure is in the form of a tower, 
and its style is Gothic. There is nothing grand 
in the edifice as here presented, but it is beautiful 
and abundantly rich in ornamental fret-work. 
The drawing and lithography are clear and care- 
ful. It is dedicated, by permission, to the Bishop 
of Gloucester and Bristol. 

Lord Stanley. Drawn by F. C. Lewis. En- 
graved by the Same. Published by Henry 
Graves and Co. 

This engraving is executed after a drawing, and 
in the light free manner of the heads of the Duke 
of Wellington and Sir Robert Peel. The coun- 
tenance is in a high degree animated ; the artist 
has conveyed into the eyes ah earnest and impi'es- 
sive meaning, and endowed the lips with a firm 
vitality which indicate much strength of character. 

Stf.phano. Designed and Lithographed by 
Henry Melling. Published by the Same, 
3, Frederick -place, Hampstead- road. 

This is a specimen of coloured lithography. The 
design seems to be an original one, but we think 
it would have answered the purpose of the artist 
better had he executed a fac-simile “ in little” of 
some known picture. Our reason for such sug- 
gestion is, that we apprehend that it will not be 


valuable as applied to original works, although it 
may be highly desirable in multiplying memo- 
randa of arrangements of colour in esteemed pic- 
tures. This invention would, if the process be 
simple, be of great use in this way. 

British, French, and German Painting. 
By David Scott, M.R.S.A. Edinburgh, 

1841. pp. 86. 

Under this title has appeared a very able pam- 
phlet on the proposed decoration of the New 
Houses of Parliament. Combining enlarged 
views, extensive acquaintance with schools of Art, 
and critical knowledge of their best artists, its ar- 
guments are striking, and its conclusions generally 
just. That an author, possessing so much true 
feeling for the higher departments of Art, should 
cloud his ideas in a rugged and often obscure 
style, is much to be regretted, and fully aecounts 
for the inadequate notice which has been attracted 
to a series of able articles from his pen, in the 
late numbers of “ Blackwood's Magazine,* 1 on 
the geuius of the greatest Italian painters. At 
the present moment, when the Fine Arts seem 
likely to attain to a higher and more permanent 
interest, than they have as yet assumed in the 
public mind among us, it seems of consequence 
that those who are capable of directing it should 
conciliate their readers, so far, at least, as to ac- 
quire a popular style. In the pictures which Mr. 
Scott has exhibited in Edinburgh, he is indepen- 
dent enough to follow out his own ideas, opposed 
though they be to the general taste ; and for this 
he well deserves the approval of the many who 
cannot admire their results. Let him do the 
same in his writings ; but let him never forget, 
that in the one and the other originality of con- 
ception may lead to the happiest efforts, while 
peculiarity of style tends to mannerism and affect- 
ation. 

Although this essay contains a rapid glance at 
the tendency of painting since its revival in 
Europe, especially in those countries named in 
the title, the main object is to prove the justice 
and expediency of employing British artists on 
the New Houses of Parliament. As it is our 
wieh rather to direct to it the notice of our rea- 
ders, than to anticipate the argument and copious 
information which will reward their perusal of 
Mr. Scott’s treatise, we shall present them with a 
single extract. 

44 Hut if, as has been in some instances proposed, 
German painting is to supplant English ; and its very 
different character of thought is to be admitted in the 
only great work (national then it will not be) which the 
country has afforded in that department of Art, the 
English school of painting may be destroyed. It will, 
at least, be broken in upon and virtually terminated. 
It were then needless to put the question — Is the cha- 
racter of British painting not worth preserving? Is it 
not altogether a more eminent and worthy manifesta- 
tion of mind, than that of Germany, in its ultimate 
value, in connexion with the moving world? Does it 
not present more extensive and higher capabilities, 
although these have not been manifested in the same 
connected and obvious form in which those of Ger- 
many have? And the only national act of Great 
Britain, in regard to its painting, will, in that case, 
either end in an attempt, which will be foreign and un- 
recognised by the general mind of the country, until 
surh time as its effects have supplied the, painting of 
England ; or, in the to her unsupposable contingency, 
merely remain an inoperative, and isolated monument, 
of an act of injustice done to the talent of the country. 
Did then, in one important respect, Barry, Fuseli, and 
Blake wear the sackcloth of neglect about them in 
vain? Did Reynolds justly counsel that the English 
painter should ‘ extend his views to all ages and to all 
schools; bring home knowledge from the east and 
from the west,’ only that his precepts and example 
should be rendered useless, and the birth-right of 
British painting be surrendered to a resuscitated 
course of an obsolete time? 

“ If the desire to introduce the painting of another 
country after this forcible manner,— not leaving it, if 
it in truth possesses such merits as would enable it to 
do so, to work its own way; if this desire proceeds 
from a mistaken cosmopolitanism, let it be so in truth, 
and there will in reality be less harm done. Invite 
painters from France, whom we have seen pursue pur- 
poses much allied to those of British painting, and 
there is no lack of ability among them ; ask Russians, 
several of whom are well known over the Continent ; 
and also bring them from the now doting alma staler 
of the Art — Italy, but which still possesses eminent 
names; and whether or not this may produce a more 
consistent and elevated work, there will, at lenst, be 
impartiality displayed, and it will betray no want of 
liberality, however much it may do so of n&iive and in- 
dependent resources.” D. D. 


An Essay on Architectural Practice. 
By T. L. Walker, architect. Publisher, 
Sprigg, late Williams, Great Russell-street. 
This essay purports to be the first portion of an 
attempt to supply a guide for students at their 
first entrance on the practice of architecture as a 
profession, and treats especially of the construc- 
tion of general working drawings. The subject 
choasn for illustration is St. Philip’s Church, 
Friar’s Mount, Bethnal-green, an edifice erected 
by theauthor, and whereof seven-and-twenty wood- 
cuts are given. It is a very plain and straight- 
forward structure, and the whole of the essay ii 
somewhat too elementary, — nevertheless, it brings 
together in one view a good deal of general in- 
formation, and cannot fail of being useful for 
those for whom it is intended. We shall reserve 
further remarks until the work is completed, and, 
in the meantime, recommend the present part to 
all students in architecture. Mr. Walker is al- 
ready favourably known to the public by his 
44 examples of gothic artitecture.’* 

Sketches of Fallow Deer. Published by 
Brown, Brothers, Leicester. 

This series of sketches is the production of an 
amateur, and is executed in tinted lithography. 
We know of no work expressly intended to 
describe deer; and we are glad to see that an 
animal so often and so faultily painted in our park 
and forest scenery, is at length attracting the 
attention of the lovers of the picturesque. The 
author of these sketches seems to have profited by 
uncommon opportunities of studying the fallow 
deer, the character and habits of which he has so 
successfully represented in the work before us. 
The action and varied attitudes [in which the ani- 
mal is here drawn, are full of grace peculiar to its 
nature. As a provincial production, this work 
does its author and publishers much credit, and 
we trust it will not be the last of the kind we shall 
see. 

The Imperial Family Bible. Published by 
Blackie and Son, Glasgow, and Warwick- 
squarc, London. 

This edition of the Scriptures is published in 
parts, and is illustrated by a series of engravings 
from the old masters, and from designs by John 
Martin, K.L. The size is folio, and the engrav. 
ings correspondingly large ; the selection seems to 
be most judicious, since we find among them 
elaborately executed engravings after the most 
esteemed masters of the famous continental 
schools. 


foreign works on the fine arts. 
Trachten dbs Christlichen Mittelalters 
nach gleichzeitigen Kunst denkmalbn 
herausgegeben. Von J. von Hefner, un- 
ter Mitwerkung von Ph. Veit, J. D. Passa- 
vant, J. von Radowitz. Mannheim, 4to., 
1842. — Illustrations of the Costume of the 
Christian Middle Ages, from contemporaneous 
Monuments of Art. Edited by J. von Hefner, 
with the assistance of J. D. Passavant. Ph. Veit, 
&c. Mannheim, 4to., 1842; and Rolandi, 
Berners-street. 

The rapid progress of our age in science has been 
accompanied also by an active spirit of inquiry 
into the history, habits, and customs of the past. 
This has been particularly remarkable in France 
and Germany, where the productions both of Li- 
terature and Art have much tended to concentrate 
and increase the feeling. A pursuit of this kind, 
though deficient in general interest, merits sup- 
port ; for, correctly to judge of the character of a 
people at any particular period, we must not only 
study History, which is the record of their acts, 
but Literature, the history of their opinions. And 
Art, which is another form of thought. Yet the 
importance of costume, 44 as that which most faith- 
fully reflects the manners of a people, their do- 
mestic customs, and predominating inclinations/* 
has been overrated. Costume does this, not inde- 
pendently, but combined : it is, indeed, a sign of 
the social state ; yet it is only one among many 
more important. Works of this description are, 
however, most essential to artists, and those who 
seek to trace the philosophical history of national 
character. 44 The Saxons/* says Strutt, 44 put 
Noah, Abraham, Christ, and King Edward all in 
the same habit — that is, the habit worn by them- 


Digitized by 




iQogie 


1842 .] 


THE ART-UNION 


65 


selves at that time ; and in the same MS., illumi- 
nated in the reign of Henry the Sixth, are exhi- 
bited the figures of Meleager, Hercules, Jason, 
3tc., in the full dress of the great lords of the 
prince's court/’ Even since the time of Strutt, 
sketches of interiors have been animated with 
figures whose costume was far more imaginative 
than historical. We are not, however, surprised 
at this ; for of works of this description the ex- 
pense is great, as the demand is limited, the 
sources on which they must rely are frequently 
meagre, and in general accessible but to few ; they 
are to be copied by various hands, in many places 
from the ruined monument, or the rare book. This 
deficiency of information the work above cited 
professes to supply. The plates are illustrative of 
all classes — the knight, soldier, merchant, and 
persons of rank, messenger of justice and trou- 
vere ; and representations of modes of investiture, 
drawings of shields, armour, and tombs, are also 
added. The letter-press is sufficiently descriptive, 
and contains matter of considerable interest. The 
editor states it to be his intention to produce a 
work of a truly historic and artistic character, of 
which the figures shall be scrupulously repro- 
duced ; and thus form a faithful picture of the 
progress of Art, from its early Christian period to 
the sixteenth century, and this at a price to make 
it easy of general acquisition. 

Handbuch der Kunstgeschichte. Von Dr. 
Franz Kugler. Stuttgart, Likferungen 
1 — 2, 1841. — The Hand-Book of the History 
of Art. By Dr. Franz Kugler. London, Nutt. 
Parts 1 and 2, 8vo. 

This work (the first attempt, we believe, of this 
description) will supply much useful information 
to the student, and to those who desire to possess 
a general acquaintance with the history of the Fine 
Arts of antiquity. Its object is, step by step, to 
trace the progress of Art, from the first rude ori- 
gin to its perfection— to exhibit its various forms 
and peculiar characteristics. Each chapter has 
an introductory, an historical, and critical division, 
by which the work becomes a manual both of tact 
and useful comment. The first part comprises 
Asiatic, the second Greek and Roman Art, under 
the heads of sculpture, painting, coins, &c. The 
information is well condensed; the best authors 
are cited; no idle controversy is indulged; and 
the style, though not free from occasional obscu- 
rity, is superior in this respect to many recent 
German critical works, the due comprehension of 
which is only to be ascribed to some effort of 
faith, as it never could be acquired by any exertion 
of the understanding. 


TO SUBSCRIBERS. 

We receive, from time to time , complaint » from 
country Subscribers, as to irregularities in the 
delivery of the Art-Union ; in one letter before 
us, an answer by a country agent is thus given , 
4 4 Not arrived — and we believe not punctually pub - 
lushed on the first of the month /' Now we beg to 
state , that in no single instance have we been an 
hour behind our time ; want of punctuality would 
be, on our parts, exceedingly pr (judicial to our in- 
terests, and an offence for which we could offer no 
excuse. On the last day of the month , our jour- 
nal is, and always has been ready ; and there can 
be no good reason why it should not be in the 
hands of Subscribers, either in London or within 
100 miles qf London , on the morning of the first 
day qf the month. 

It may, invariably , leave our office on the after- 
noon of the last day of the month ; and. indeed, 
regularly does so in every case over which we have 
any control. 

With a view to prevent disappointment as to 
its regular transmission, we stamp every copy, in 
order that it may not be delayed for ordinary 
modes of transfer, but go direct through the post : 
as we have intimated, copies that go from our 
office are invariably posted on the last day of the 
month. 

Subscribers who have been subjected to disap- 
pointments in the regular receipt qf our journal, 
will, therefore, not only acquit us of blame, but 
may now ascertain with whom the blame actually 
rests. 

132, Fleet-street , Feb . 26 th. 


Persons who may require additional copies of the 
Art-Union for the present month, will do well to 
order them without delay ; as, after a few days, the 
edition will be exhausted, and it will be very difficult 
to procure a copy. 

We are induced to make this suggestion, because 
when, on a former occasion, we issued a sheet of wood- 
cuts, we had a large number of orderB for it, which we 
found it impossible to supply ; and we know that, in 
many instances, persons desirous of procuring a copy, 
paid for it five times.the sum at which it was originally 
charged. 

It may be necessaryto observe that the extra half- 
sheet— of eight pages— containing a selection of wood- 
cuts is issued with every number of the Art-Union for 
March. Purchasers will, therefore, take especial care 
to obtain it perfect. 

TO CORRESPONDENTS. 

44 Le Peintre Graveur” of Adam Bartsch, is the best 
work we have on the works of the early masters, com- 
prising the Dutch, the German, and the Italian schools. 
Bartsch was keeper of the Imperial Collection at Vi- 
enna. The work is in 21 vols. ; and a copy is in the 
print-room of the British Museum. There are only 
twelve or fourteen etchings in it, after extremely rare 
prints. Mr. Josi, the excellent keeper of the prints in 
the Museum, has made great progress towards an 
English edition of this work, with many important 
additions ; a work that, if completed, would reflect 
great credit, not only on him, but the nation. 

We thank a “Well Wisher and Subscriber ;” and 
have acted upon his hint. 

We are fully aware of the facts to which " a friend” 
refers ; but we should find it rather difficult to review 
a work we have not seen ; in common courtesy we are 
bound first to notice works upon which our opinions 
are asked ; and in doing so find ample occupation for 
our time and space. 

An extensive scries of Drawings, the originals of Mr. 
Nash’s • Mansions of England/ will be exhibited at 
Messrs. Gravesand Co/s, 6, Pall-mall, during the pre- 
sent month. Judging from the beauty and interest of 
the published copies, we imagine that few exhibitions, 
even at this season, will be more attractive. 

Foreign Publications.— Wc intend to devote con- 
siderable space to the notice of Foreign Works con- 
nected with the Fine Arts; reviewing them as soon as 
possible after they are issued, and giving, as nearly as 
we can, the marrow of the best, directing the reader to 
the sources where he may obtain copies. 

The Society of British Artists, we believe, will open 
their gallery on the last Monday of March; at least, 
tnis has been the usual plan. Pictures intended for 
the ensuing Exhibition should be sent as soon as pos- 
sible after the commencement of the month. 

The new Water-Colour Gallery will open about the 
same period. The old Society will open about a month 
afterwards. 

The pictures for the Royal Academy must be for- 
warded on the first Monday and Tuesday of April. 

We are again, notwithstanding our additional co- 
lumns, compelled to apologise for postponing the pub- 
lications of several articles in type. These consist 
chiefly of 44 Correspondence,” and Notices of New 
Works.” Next month, however, we hope to bring up 
all our arrears. 

We really hope we maybe held excused for declining 
to insert long treatises on the subject of Vehicles— at 
least for some time to come. 

44 An Artist and Well-wisher” will perceive that we 
have, in part, adopted his suggestion. 

We are collecting the information necessary for a 
paper on scene-painting; its modern improvements, 
capabilities, &c. 


T O ARTISTS. — The Committee of the ART- 
UNION OF LONDON are desirous of obtaining 
an appropriate EMULEMATiCAL DEVICE for the 
Prospectus, Reports, &c., of the Society. The sum of 
TEN GUINEAS is therefore offered for the best Out- 
line Design, in Ink, for the same; size, three inches in 
diameter. The drawings, each of which must bear 
some distinguishing mark, and be accompanied by a 
sealed letter, similarly marked on the outside, and 
containing within the name and address of the artist, 
are to be forwarded to the Honorary Secretaries, at 
the Office of the Society, 73, Great Russell- street, 
Bloomsbury, on or before the 14th day of March next. 
No other letter will be opened than that accompanying 
the adopted design. As it is proposed to reduce the 
device for a seal, simplicity is desirable. 


Feb. 17, 1842. 


George Godwin, jun., 

Lewis Pocock, J / Hon * S** 8 ’ 


A RT-UNION OF LONDON- 
NOTICE TO ARTISTS AND SUBSCRIBERS. 
1st. The amount of a prize is in no case applicable 
to the purchase of more than one work or art ; 
and shall not be allowed to include any payment to 
the Artist for more highly finishing or perfecting such 
work ; or, in fact, anything more than the bond fide 
value of such Work of Art, as actually exhibited. 

2nd. No Picture, or other Work of Art, shall be pur- 
chased by any Prizeholder, the price of which was not 
left with the person appointed to communicate the 
same to public inquirers, at the first opening of the 
several exhibitions (except the British Institution, now 
open); and any reservation which may make the price 
required by the Artist doubtful, shall be considered as 
placing such Work of Art as though no price had been 
affixeato it ; and, consequently, render it ineligible to 
be purchased by any Prizeholder. 

3rd. Should any collusion be discovered between an 
Artist and a Prizeholder, to evade the foregoing laws, 
or any part of them, the amount of the pnze snail be 
forfeited, and merge into the general funds of the 
Society, and the Prizeholder shall have his Subscription 
returned to him. 

G. Godwin, jun., Esq., F.R.S., F.S.A. ^ 
Lewis Pocock, Esq., F.S.A. / Mon b€C8m 


By order, 


T. E. Jones, 

Clerk to the Committee. 


A rt-union of London. 

President. 

His Royal Highness the Duke or Cambridge. 
Committee or Management. 

Henry G. Atkinson, Esq., Edward Hawkins, Esq., 
F.G.S. F.R.S., F.S.A. 

Chas. Bari y, Esq., A.R.A. Henry Hayward, Esq. 
John lvatt Briscoe, Esq. William Leaf, Esq. 

John Britton, Esq., F.S.A. Win. C. Macready, Esq. 
Benjamin Bond Cabbell, T. P. Matthew, Esq. 

Esq., F.R.S., F.S.A. Thomas Mist, Esq. 

W illiam Collard, Esq. T. Moore, Esq., F.S.A. 
Robert Dickson, Esq., George Morant, Esq. 
M.D., F.L.S. George John Morant, Esq. 


i . r. niaiiucn, Doq. 

Thomas Mist, Esq. 

T. Moore, Esq., F.S.A. 
George Morant, Esq. 
George John Morant, Esq. 


Charles Palmer Dimond, Richard Morris, Esq. 


Esq., Treasurer. 

Thos. L. Donaldson, Esq. 


John Noble, Esq., F.S.A. 
Lewis Pocock, Esq., F.S.A. 


William Ewart, Esq., M.P. | The Right Hon. the Lord 


J. S. Gaskoin, Esq. 
George Godwin, Esq., 
F.R.S., F.S.A. 

Thos. Griffith, Esq., M.A. 


Prudhoe. 

W. J. Smith, Esq. 

Arthur Wm. Tooke, E6q., 
M.A. 


Sir Benj. Hall, Bart., M.P. R. Z. S. Troughton, Esq. 
T. Charles Harrison, lisq., Samuel Wilson, Esq., Aid. 


F.L.S., F.G.S. 


| Edward Wyndham, Esq. 


Honorary Secretaries. 

George Godwin, Esq., F.R.S., F.S.A., 11, Pelham- 
crescent, Brompton. 

Lewis Pocock, Esq., F.S.A., 29, Montague-street, Rus- 
sell-square. 

The Art-Union was established in 1836. to aid in 
extending the love of the Arts of Design through the 
United Kingdom, and to give encouragement to Artists 
beyond that aflorded by the patronage of individuals. 

1. It is composed of Annual Subscribers of One 
Guinea and upwards. 

2. The funds, after paying necessary expenses, are 
devoted to the purchase of Pictures, Drawings, Ena- 
mels, Sculpture, or Medals. 

3. Every Member, for each Guinea subscribed, is 
entitled to one chance of obtaining some work of Art 
at the annual distribution, the selection of which rests 
with himself. 

4. In addition to the equal chance annually afforded 
to each Subscriber of becoming the possessor of a va- 
luable work of Art, by the result of the allotment, a 
certain sum is set apart every year to enable the Com- 
mittee to procure an Engraving; and of this Engraving 
each Member will receive one impression for every 
Guinea subscribed. 

w The number of Subscribers last’year was 50127*ttie 
sum of .€3650 being expended in the purchase of pic- 
tures, at various prices, from €10 to .€300. 

An Engraving of Mr. Landseer's picture, 4 THE 
TIRED HUNTSMAN/ by Mr. H. C. Shenton, is 
dow in course of distribution to the Subscribers of the 
year 1840, at Messrs. P. and D. Colnaghi's, 14, Pall- 
mall East. 

Mr. J. P. Knight's picture, ‘THE SAINTS* DAY/ 
is in the hands of Mr. W. Chevalier, to be engraved 
for the Subscribers of 1841. 

The Subscribers of the year, ending on the 31st inst. 
will receive impressions of an Engraving by Mr. 
W. H. Watt, of Hilton’s fine picture, 4 THE RE- 
TURN OF UNA/ 

THE LISTS FOR THIS YEAR WILL CLOSE ON 
THE 31st INST.; and an immediate payment of 
Subscriptions is earnestly requested, in order to 
enable the Committee to make advantageous arrange- 
ments for the ensuing distribution. 

Prospectuses may be obtained at the Society's Office, 
73, Great Kussell-street (corner of Bloomsbury-square), 
where the Clerk is in attendance daily, from Nine till 
Six o’clock, to afford any information that may be re- 
quired, and to receive Subscriptions. 

By order, T. E. Jones, 

1st March, 1842. Clerk to the Committee. 


Digitized by VjiUUy Lv. 



66 


THE ART-UNION 


[March, 


MILLERS SILICA COLOURS. 


In introducing these Colours to the notice of Artists and of the Public, it will not, perhaps, be deemed obtrusive, if the Manufacturer presumes to offer a few remarks 
upon the subject, seeing that, by the application of many years’ experience, aided by numberless experiments, he has, at length, most successfully accomplished his object, 
in bringing back to light a long buried secret of ancient Art. 

The countless ana laborious efforts that, from time to time, have been made by modern Artists, to produce Colours that might bear comparison in point of brilliancy 
and durability, with those of the Old Master*, are sufficiently known to need no further comment. It is likewise, unfortunately, but too well acknowledged how fruitless 
these efforts have been. For although, at first, their works might appear to vie successfully with the antique originals, yet when placed, a twelvemonth afterwards, by the 
side of their prototypes, how great a falling off was there! What an universal degeneracy of tint and tone ! While the ancient productions seemed as fresh and vivid as 
if they were the creations of yesterday, and appeared by their undecaying brilliancy and clearness to deride alike, the attacks of time and the feeble competition of 
modern Art. 

The injurious effects of light and atmosphere on the colours of the present day, are very clearly evidenced by the contrast of Ultramarine, which being manufactured 
on the same principle as the Colours of the Old Masters and the Silica Colours, has been erroneously supposed to have derived an accession of brilliancy from age. Such, 
however, is not the fact. The phenomenon of its apparently increased vividness, is the result of its simply retaining its original lustre, whilst that of the other colours of 
the picture has invariably declined and faded. W T ere any one sceptical of the superiority of ancient colour, every doubt might be easily removed by a glance at the two 
pictures of Francia, recently added to the collection in the National Gallery, and painted between three and four hundred years ago. The transparency and freshness of 
their tints have that time-defying character and gem-like lustre, that modem paintings seldom perhaps possess and never retain. 

In the early periods of Art, the painter, having no colourman to prepare his colours for him, was compelled to seek and compose them himself, from whatsoever 
substances were at hand, from earths and stones ; and chiefly from their use of such imperishable materials, unimpaired by chemical agency, may be inferred the great 
durability of his productions. 

The present Silica Colours, now confidently submitted to the ordeal of public opinion, have already been severely tested by Artists of the first eminence, and by 
persons of scientific attainment, whose judgment has been unequivocally expressed in their favour; and who do not hesitate to affirm that they reveal the mystery of 
ancient colouring; and that they possess all the invaluable qualities of transparency, brilliancy, and durability, which are so eminently conspicuous in the works of the 
ancient painters. 


The SILICIA OIL COLOURS are prepared in col- 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of an order, for any of 
the under- mentioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green . Pale and Deep Brown. 

White and Half Tint. Gray and Black. 

VAN EYCK’S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Modem School ; 
namely, the destructive effects of Varnishes, Oils, and 
M’guelps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come homy, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared t Q 
painting in enamel. 

Glass Medium in Bottles . 

No. 1. For first and second painting, and for mixing 
with colours already prepared in Medium. 

No. 2. For general painting, and for rubbing up pow- 
der colours with. 

No. 3. For third painting, finishing, and glazing, 
or mixing with lakes and other colours, requiring 
strong driers, giving at the same time additional trans- 
parency. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s pure Floren- 
tine Oil. 

Glass Medium in Powder . 

Nos. 1, 2, and 3. 

If these powders be mixed stiff upon the palette with 
a small portion of Miller’s pure Poppy Oil, it will 
enable the Artist to lay colour, pile upon pile, and to dip 
his pencil in water or oil at pleasure. It will also dry 
so hard that it may be scraped with a knife on the fol- 
lowing day. 

Artists are recommend to replenish their Colour 
Boxes with Colours prepared in Medium, as they will 
be found better in every respect than those prepared 
in the ordinary oils. 

It is also requisite to remark, that while Artists 
continue to use colours as commonly prepared in oils, 
they only reap half the advantage resulting from the 
great improvement in the art— which the Media are 
acknowledged to be by upwards of one thousand Artists 
who have already tried and approved them. 


T. MILLER, being the original preparer of this In 
valuable Medium, has the honour of supplying 
Sir Martin Archer Shre, President of the 
Royal Academy, 

Sir A. W\ Calcott, R.A. W. Havell, Esq. 

C. L. Eastlake, Esq., R.A. T. C. Hoflaud, Esq. 

W. Etty, Esq., R.A. James Holmes, Esq. 

D. Maclise, Esq., R.A, F. Y. Hurlstone, Esq. 

W. Mul ready, Esq., R.A. J. D. King, Esq. 

T. Phillips, Esq., R.A. S. Lawrence, Esq. 
H.W.Pickersgill,Esq.R.A. W. L. Leitch, Esq. 

D. Roberts, lisq., R.A. T. Lewis, Esq. 

J. M. W. Turner, Esq.R. A. J. Lucas, Esq. 

C. R. Leslie, Esq., R.A. J. Martin, Esq. 

H. P. Briggs, Esq., R.A. R. M'Innes, Esq. 

W. Collins, Esq., R.A. H. Moselev, Esq. 

W. C. Ross, Esq., R.A. J. Muller, "Esq. 

E. Landseer, Esq., R.A. Sir W. Newton. 

C. Jones, Esq., R.A. R. P. Noble, Esq. 

A. Cooper, Esq., R.A. R. Noble, Esq. 

S. Drummond,Esq.,A.R.A. W. Richardson, Esq. 

J. P. Knight, Esq., AR.A. J. Stark, Esq.^ 

C. Landseer, Esq., A.R.A. Miles Smith, Esq. 

R. Redgrave, Esq., A. R.A. K. B. Spalding, Esq. 

T. Webster, Esq., A. R.A. F. Stone, Esq. 

W. Allen, Esq. C. Stonehouse, Esq. 

C. Baxter, Esq. W eld Taylor, Esq. 

R. Beechey, Esq. Charles Taylor, Esq. 

W. Boxall, Esq. F. Thrupp, Esq. 

W. Bradley, Esq. R. J. Walker, Esq. 

J. Byrne, Esq. G. Wallis, Esq. 

G. Cattermole, Esq. G. R. Ward, Esq. 

J. Cole, Esq. T. Mogford, Esq. 

C. A. Constant, Esq. R. Heudrie, Esq. 

G. Croekford, Esq. J. Wilson, Esq. 

W. Derby, Esq. F. S. Cary, Esq. 

T. Ellerby, Esq. C. F. Williams, Esq. 

G. Field, Esq. F. R. Say, Esq. 

W. Fisher, Esq. W. R. Collett, Esq., M.P. 

W. Fisk, Esq. W. Dyce, Esq. 

W. H. Freeman, Esq. M. E. Cotman, Esq. 

J. Gilbert, Esq. W. R. B. Shaw, Esq. 

A. Vickers, Esq. R. K. Penson, Esq. 

A. Tidy, Esq. C. L. Reet, Esq. 

H. Room, Esq. H. Gritten, F^sq. 

F. D. Broadhead, Esq. M. Claxton, Esq. 

H. Strong, Esq. B. R. Faulkner, Esq. 

L. Iluskinson, Esq. W. E. Winter, Esq. 

J. Lord, Esq. G. S. Fitch, Esq. 

J. W. Child, Esq. H. Milling, Esq. 

J. Hall, Esq. J. H. Dixon, Esq. 

C. Hancock, Esq. Colonel Rawdon, M.P. 

R.G. Hammerton, Esq. Sir Gordon Bremer. 
Horace Vemet, Esq. A. Delarocbe, Esq. 

And many other Artists of Eminence. 


T. MILLER gladly embraces this opportunity 
of publicly expressing his grateful acknowledge- 
ments to his numerous Patrons and Friends, both 
in this country and on the continent : and particu- 
larly those gentlemen, who, unsolicited, have so 
kindly forwarded to him letters testimonial of 
their entire approbation of the Glass Medium. 
Nor must he omit to mention (which he does from 
a sense of gratitude, rather than from a feeling of 
vanity), the presentation of a Silver Cup, by an 
artist of eminence, for his invention of the Silica 
Colours; — and Artists and the Public may be 
assured, that, with such a flattering stimulus to 
exertion, as the sufferages of gentlemen of first 
rate talent, he is not likely to relax in those 
efforts, whereby he first obtained their notice and 
approbation. 


The SILICA WATER COLOURS are prepared in 
small squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colour*, at 
present in use ; and can be forwarded per post to any 
part of the country, on receipt of an order for any 
of the under-mentioned tints, viz. : 

Pale and Deep Red. 

Tale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pule and Deep Green. Pale and Deep Brown. 

Pale and Deep Gray. White and Black. 

To Water-Colour and Miniature Painters. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and for 
enabling the Artist to repeat his touches without dis- 
turbing the colours already laid on, has been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints unin- 
jured ; in durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Glass Medium in Bottles. 

No. 1. For first colouring or laying on masses of 
colour. This dries so bard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

T. M. has great pleasure to inform Artists that he 
has on sale all the Colours made by G. Field, Esq., au- 
thor of “ Chromatography,” &c. &c. 

He has also all the remaining stock of Ultrama- 
rines, manufactured by the celebrated Italian maker, 
the late G. Arzone. 

MILLER’S PREPARED LEAD PENCILS 
for drawing, &c. 

Of different degrees of hardness, without grit. 

MILLER’S NEW PALETTE 

Is held in the same manner as the one in general 
use, but the thumb-bole is dispensed with, thereby ob- 
viating the annoyance resulting from oil and colour 
running through upon the hand, and will doubtless en- 
tirely supersede the present one. 

SILICA GROUND CANVASS. This Canvass, 
not being prepared in the usual method with common 
oils, causes all colours used on it to dry from the bot- 
tom, and not from the surface, as is now the case, 
thereby, in the painter’s phrase, giviug a light within. 

SILICA VARNISH. This varnish, not being made 
of soft gums, like the ordinary varnish, when once dry 
cannot be removed from the painting; neither is it 
acted on by the atmosphere, which frequently occasions 
the effect of a thick bloom, similar to that of a plum, 
thereby entirely destroying the effect of the picture. 
All these evils are completely obviated by the use of 
the Silica Varnish. 

DISSOLVING VIEWS. 

Colours prepared in small boxes, for painting the 
Dissolving Views as now exhibited at the Roval Poly- 
technic Institution, with directions for use. The same 
Colours are also applicable for painting the slide 
glasses of Magic Lanterns, and devices or ornaments 
on ground glass, in imitation of the old masters. 

MILLER’S PREPARATION FOR CLEANING AND 
RESTORING OIL PAINTINGS 

In small boxes complete, with directions iv »r use. 


MILLER’S ARTISTS’ COLOUR MANUFACTORY, 56, LONG ACRE, LONDON. 


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1842 .] 


THE ART-UNION, 


67 


MESSRS. COLNAGHI & PUCKLE, 

No. 33, COCKSPUR-STREET, CHARING-CROSS, 

PRINTSELLERS TO HER MAJESTY THE QUEEN, 

TO THE QUEEN DOWAGER, HER ROYAL HIGHNESS THE DUCHESS OF KENT &c., &c., 

Have to announce the Publication of the following Engravings and Works— viz., 

PORTRAITS OF HER MAJESTY AND H. R. H. PRINCE ALBERT, 

Engraved by Fbbdbrick Bacon, Esq., from the original Miniatures painted by W. C. Ross, Esq., A.R.A., her Majesty’s Miniature Painter. 

PORTRAIT OF H.R.H. THE DUCHESS OF KENT, 

A Companion to the Portraits of her Majesty and the Prince, by the same Artists. 

These beautiful Prints, executed in the line manner, are of the same size as the Miniature, and are as much suited for framing as for the portfolio of the Amateur. They 
are acknowledged to be by far the best Portraits of her Majesty, his Royal Highness the Prince, and her Royal Highness the Duchess of Kent. 

Prints . . . 10s. 6d. Proofs . . . £\ Is. Autograph Proofs . . . £2 2s. each. 

A PORTRAIT OF HIS GRACE THE DUKE OF WELLINGTON. 

A Half-length Print, Engraved by T. H. Ryall, Esq., Engraver to the Queen, from the Original Picture by H. P. Briggs, Esq., R. A., Painted for the Right Hon. Lord 
Wharncliffe. Of this admirable Picture, by far the best likeness of his Grace since the celebrated Portrait executed in 1823, by Si a Thomas Lawrencb, for the Right 
Hon. Charles Arbuthnot, one cannot speak too favourably. It represents the Duke in the fulness of years and wisdom. 

Prints . . . £1 Is. Proofs . . . £2 2s. Autograph Proofs . . .£3. 3s. 

PORTRAIT OF THE RIGHT HON. SIR NICHOLAS CONYNGHAM TINDAL, 

Lord Chief Justice of the Court of Common Pleas. 

An admirable Half-length Print, by Mr. H. Cousins, from an exceedingly fine Picture by Thomas Phillips, Esq., R.A. 

Prints . . . £\ Is. Proofs ... £2 2s. Autograph Proofs . . . £3 3s. 

CONFERENCE ON BOARD H. M. SHIP WELLESLEY, 

Between SIR GORDON BREMER, K.C.B., and the CHINESE AUTHORITIES in the HARBOUR or CHUSAN, on the EVENING or the 4th JULY, 1840. 

Lithographed by Lynch, from the Original Drawing by Sir Harry Darell, Bart., A.D.C. 

This interesting Print contains Portraits of Sir Gordon Bremer, Brigadier Burrell, Captain Thomas Maitland, R.N., Lord Jocelyn, Sir Harry Darell, Bart., A.D.C., the 
Rev. Mr. Gutzlaff, the Chinese Admiral, Chang (Governor of Chusan), his Flag Captain, and the Chief Magistrate of Chusan. 

Price 108. 6d. 


WINSOR AND NEWTON’S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 

FOR OIL PAINTING. 


W and N.'s Compressible Metallic Tubes 
• are made on an entirely novel plan, of a 
series of layers or rolls of extremely thin metal ; they 
are extremely light, yet have great strength and tough- 
ness, so that they are not liable to split and leak, as is 
the case with all Tubes made on any other plan. 

By a process peculiarly original, W. and N. line every 
Tube with a thin membranous substance, and thereby 
prevent the very injurious ettect occasioned to colours 
which are long kept in direct contact with a metallic 
surface. The most delicate colour is thus eflectually 
protected from any chemical action that might other- 
wise cause its deterioration. 

The oil colour is ejected from these Tubes in a man- 
ner similar to that in which colour is expressed from 
the common bladder colour, by squeezing or compress- 
ing between the thumb and finger, so that the colour is 
always kept gathered up in a compact state ; the empty 
part of the Tube remaining closed or compressed be- 
hind it. 

The bottom of the Compressible Tube is cemented in 
a manner entirely new ? which gives a security to the 
Tube not before obtained, and renders it impossible 
for the contents to be forced out through accident or 
imperfect closing. 

W. and N. beg to apprise their Patrons that their 
new manufacture of Compressible Metallic Tubes is 
entirely original; and, excepting the tubular form 
(which has been generally adapted in various contri- 
vances for preserving oil colours for the last fifty year&), 
their Tubes are not similar in their manufacture to any 
of the numerous other tubes applied to the preservation 
of oil colours now in existence. 

They are light and portable, and may be packed with 
safety among linen or paper. They preserve oil colour 
for any length of time, are peculiarly adapted for ex- 
pensive colours, and otter the most perfect mode of 
sending oil colours to warm climates. 

The advantages of these Tubes maybe thus enumerated. 
The preservation of the colour free from skins. 

The cleanliness with which the art of painting may 
be pursued, either by artist or amateur. 

The readiness with which the colour may be pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and danger of breaking or burst- 
ing. 

Economy in use, and moderate price. 

TO BB HAD, WHOLESALE AND RETAIL, AT 

WINSOR AND NEWTON’S 
ARTISTS’ COLOUR MANUFACTORY, 

38, RATHBONB PLACE, LONDON. 

Price 6d. each, to be filled with colour, (Cobalt, Mad- 
der, Lakes, &c., extra as usual). 


T O MINIATURE PAINTERS, &c.— W. 

WARRINER, 39, GREAT CASTLE -STREET, 
REGENT - STREET, Manufacturer of OR MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. VVarriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 
patronised him, begs further to inform them that he 
has a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 


THE CHEAPEST MANUFACTORY FOR GILT i 
AND FANCY WOOD PICTURE FRAMES. 

P GARBANATI, WORKING CARVER 
• and GILDER, 19, ST. MARTIN’S-COURT, 
St. Martin’s-lane, respectfully informs Artists, &c., , 
that as he manufactures entirely on his premises every 
description of ORNAMENTED GILT and FANCY 
WOOD PICTURE FRAMES, he is enabled to offer 
them at such low prices that he defies competition. A 
most extensive assortment of every size Picture Frames 
kept ready. Re-gilaiug in all its branches in a most 
superior manner, cheaper than by any other house in 
the trade. Estimates given free of charge. 

A large assort ment of handsome ornamented swept 
Gilt Miniature Frames at 6s. each (glass included), not 
to be equalled for price and quality by any other manu- 
facturer in the kingdom. 

A list of the prices of Plate Glass, Gilt and Fancy 
Wood Picture Frames, &c., sent, pre-paid, to any part 
of the kingdom. 


PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUA1, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and his predecessor, having 
been the fa\oured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These 'l ubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
tlie remainder will keep good for years, even in warm 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH liOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
words “ BROWN’S PATENT ” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 


P ATENT OXYDATOR.— DEPOT, 14, Finch- 
lane, Cornhill.— The OXYDATOR is the only 
effective instrument for the perfect combustion of 
common oil, with all the brilliancy and mote than the 
power of the finest sperm, and without alteration of 
the sperm lamp. Price 5s. including a proper chim- 
ney-glass, preserved from breaking by the metal 
oxydator. The advertised substitutions are merely 
narrow-necked glasses, difficult to clean, and induce 
an endless expense for breakage.— SMITH and Co., 
Agents for the Patents. Country agents wanted. 
Purified oil, to burn in all lamps with the Oxydator, 
4s. per gallon. 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• comer of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and freeof postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 


SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ L E A N, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 


I NSTANTANEOUS DAGUERREOTYPE, or 
PHOTOGRAPHIC PORTRAITS, by Mr. A. 
CLAUDET’S new Patented Improved Process, ROYAL 
ADELAIDE GALLERY, LOW T1IER-AKCADE, West 
Strand. — Mr. A. Claudet has completed his new ar- 
rangements, and has fitted up a comfortable and ele- 
gant room at the ubove Gallery for taking Portraits 
and Groups of Figures by an instantaneous process, 
producing faithful and pleasing likenesses. This im- 
provement will be hailed as the greatest desideratum 
in this wonderful art; for hitherto, when the sit- 
ting required any length of time, the features were 
unavoidably constrained or unnatural. Specimens are 
exhibited at the Adelaide Gallery, where portraits are 
taken daily. As sunshine is not necessary, dull wea- 
ther docs not prevent the operation. Price of a single 
portrait fitted in a neat case one guinea; for groups 
containing two figures one guinea and a half, adding 
half a guinea for every extra figure ; in family groups, 
two children half a guinea, forties are not expected 
to pay unless satisfied with the likeness. 


Digitized by v joogle 



1 


THE ART-UNION. 


[March 1842. 


THE ROYAL MARRIAGE PICTURE. 


" Mr. Hayter bad the honour of submitting: to her 
Majesty bis large oil sketch for the grand historical 
picture of the Marriage, with which her Majesty 
was graciously pleased to express the highest ap- 
proval.”— Court Circular. 

•* On Saturday, her Majesty honoured Mr. Hayter 
by sitting to him in the Marriage robes; and his 
Royal Highness the Prince Albert also sat to him for 
his great picture of her Majesty’s Marriage.” — 
Court Circular. 

“ Her Majesty, the Queen Dowager, and her 
Royal Highuess the Duchess of Kent, honoured 
Mr. Hayter by sitting to him in the full Marriage 
robes, for his picture of that august ceremony.”— 
Court Circular. 

“ Her Royal Highness the Duchess of Gloucester 
did Mr. Hayter the honour to sit for the great 
Marriage picture.”— Court Circular. 







“Their Serene Highnesses the Duke of Saxe* 
Coburg-Gotha and Prince Ernest ; and their Royal 
Highnesses the Duchess of Cambridge and Princess 
Augusta of Cambridge, did Mr. Hayter the honour 
to sit to him, to be painted into the grand picture of 
her Majesty’s Marriage.”— Court Circular. 

“ Their Royal Highnesses the Dukes of Sussex 
and Cambridge, and Prince George of Cambridge, 
honoured Mr. Hayter with a sitting for the historical 
picture of her Majesty’s Marriage.” — Court 
Circular. 

“ On 'Wednesday last, his Majesty the King of 
Prussia honoured Messrs. H. Graves and Co. with 
his autograph in their subscription book, as a sub- 
scriber for the forthcoming engraving from the 
Royal Marriage Picture.”— Court Circular. 


11 Mr. Hayter had the honour yesterday to submit to her Majesty the Queen, his Royal Highness Prince Albert, and the King of Prussia, in 
Windsor Castle, his most beautifully finished picture of * The Royal Marriage,’ when her Majesty, Prince Albert, and the King of Prussia, were 
most graciously pleased to express their entire approbation of this magnificent painting.” — Court Circular. 

fQfc&m Her Majesty’s Printsellers and Publishers, Messrs. Henry Graves and Co., 

have authority to announce that, by 

HER MAJESTY’S SPECIAL PERMISSION, 

A they will in April have the honour to exhibit, in their Gallery in Pall-Mall, 

WppB H THE MAGNIFICENT PICTURE OF iff 

’HSUr HER MAJESTY’S MARRIAGE. iH 


IS# Painted by GEORGE HAYTER, Esq., M.R.S.L., her Majesty’s Historical and Portrait Painter. 4> 

at Description of this Grand and Noble Picture must be very imperfect; but the Publishers beg to state, that 
IHh SPLENDID ENGRAVING which they are to have the honour of publishing will enable all the admiring Patrons of Art to possess this, 

THE ONLY AUTHENTIC MEMORIAL 

OF ONE OF THE MOST INTERESTING EVENTS OF HER MAJESTY’S REIGN. 

Subscribers’ names for this National Engraving received by Messrs. H. Graves and Co., her Majesty’s Printsellers and Publishers, where the 
Subscription Book, containing the numerous Autographs of the Royal and Illustrious Subscribers, is now open, and the Impressions 

will be strictly delivered in the order of subscription. 

Price to Subscribers : Prints, 4 * 4s Proofs, 48 8s Proofs Before Letters, 412 12s. 


Henry Graves and Co. will also have the honour, in the course of a few days, of Exhibiting in their Gallery, to the Patrons of Art, 
THE SPLENDID SERIES OF UPWARDS OF .FIFTY MOST EXQUISITE DRAWINGS OF THE 

INTERIORS AND EXTERIORS 

OF 

THE ANCIENT MANSIONS OF ENGLAND, 

BY THAT EMINENT ARTIST, JOSEPH NASH, ESQ. 

Theic exquisite Original Drawings, made in the Mansions, ore upwards of double the size of the engraved plates, and will form the most interesting 
Series of Drawings, ever produced, of the Architecture of Englnnd in the time of Queen Elizabeth. 

BY COMMAND OF HER MAJESTY. 

Henry Graves and Co. beg to announce that have nearly ready for Publication, 

THE MAGNIFICENT ENGRAVING FROM THE GRAND HISTORICAL PICTURE OF THE 

CORONATION OF HER MAJESTY, QUEEN VICTORIA. 

Painted by George Hayter, Esq., M.R.S.L., Her Majesty’s Historical and Portrait Painter ; and Engraved in the most splendid style of Art, by H. T. Ryall, Esq** 
_ T Her Majesty’s Historical and Portrait Engraver. 

Not only has her Majesty been graciously pleased to give Mr. Hayter numerous sittings for this National Picture, but the whole of the Royal Family, the Foreign 
Princes, the Dignitaries of the Church, the Ladies and Officers of State, have all (by Special Desire) sat to Mr. Hayter for their individual Portraits ; thus combining, 
in one grand Picture, nearly One Hundred Authentic Portraits of the most Illustrious Personages of the Age, assembled round the Throne of our beloved Sovereign, 

in the venerable Abbey of Westminster. 

Price to Subscribers : Prints, 4 \ 4s Proofs, 48 8 s Proofs Before Letters, 412 12s. 

Among the Numtrotu Subscriber* whose Names already honour the Subscription List for this grand National Engraving, are the following Illustrious Personages : 

HER MAJESTY THE QUEEN HER ROYAL HIGHNESS THE DUCHESS OF GLOUCESTER 

HIS ROYAL HIGHNESS PRINCE ALBERT HIS ROYAL HIGHNESS PRINCE GEORGE OF CAMBRIDGE 

HER MAJESTY THE QUERN DOWAGER HIS ROYAL HIGHNESS THE PRINCE OF LKININGEN 

HIS MAJESTY THE KING OF HANOVER HIS ROYAL HIGHNESS THE DUKE DK NEMOURS 

HIS MAJESTY THE KING OF PRUSSIA PRINCE WILLIAM HENRY OF THE NETHERLANDS 

HIS MAJESTY THE KING OF BELGIUM HIS GRACE THE ARCHBISHOP OF CANTERBURY 

HIS MAJESTY THE KING OF THE FRENCH HIS GRACE THE ARCHBISHOP OF YORK 

HIS ROYAL HIGHNESS THE GRAND DUKE OF RUSSIA HIS GRACE THE DUKE OF NORFOLK 

HER ROYAL HIGHNESS THE DUCHESS OF KENT HIS GRACE THE DUKE OF DEVONSHIRE 

HER ROYAL HIGHNESS THE PRINCESS AUGUSTA HIS GRACE THE DUKE OF BEDFORD 

HER ROYAL HIGHNESS THE DUCHESS OF CAMBRIDGE HIS GRACE THE DUKE OF ARGYLL 

HER ROYAL HIGHNESS THE PRINCESS OF IIOHENLOHE HIS GRACE THE DUKE OF SUTHERLAND 

HIS ROYAL HIGHNESS THE DUKE OF SUSSEX THE FOREIGN AMBASSADORS, 

HIS ROYAL HIGHNESS THE DUKE OF CAMBRIDGE &c. &c. &c. 

London : Published by HENRY GRAVES and COMPANY, Printsellers and Publishers in Ordinary to Her Majesty, 6, Pall-Mall. 


Iftiidon Printed at the office of Palms* and Clayton, 9, Crane Court, Fleet Street, and Published by How and Pamon i, 132, Fleet Street^March 1, 



THE ART-UNION. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
Ac. Ac. Ac. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 89. LONDON : APRIL 1, 1842. Price 1». 

~ THIS JOURNAL BEING STAMPED, CIRCULATES, POSTAGE FREE TO ALL PARTS OP THE UNITED KINGDOM. 


B ritish institution, pall-mall.— 

The GALLERY for the Exhibition and Sale of the 
Works of British Artists IS OPEN daily, from Ten in 
the morning till Five in the evening. Admission Is.; 
Catalogues is. William Barnard, Keeper. 

rt.union o~f London: 

The Artists who kindly submitted DESIGNS for 
the DEVICE required by the Society, are informed that 
the Committee have selected a Drawing by Mr. F. K. 
IMckkrsgill ; and that the other Designs, together 
with the letters, unopened, may be obtained by their 
Authors, on application at the Office. 

Gbo. Godwin, Jun.,1 
Lewis Pocock, J Hon * ***** 
Office, 73, Great Russell-strect, 

Bloomsbury, Ma rch 18 42. 

BRISTOL SOCIETY OF ARTISTS. 

T HE EXHIBITION of the above SOCIETY, 
for 1842, WILL OPEN, on the 18th of April, at 
the Bri8tol Philosophical Institution, Park street. 
Pictures will be received up to the 9tli instant. 

Londou Artists will please to observe, that Mr. Green, 
of Charlea-street, Bcmers-atreet, Collect! and Packs 
Pictures for the Society. 

An ART-UNION, under distinguished Patronage, 
is established in connexion with the Exhibition. 

Rob. Tucker, Secretary. 

R OYAL ACADEMY, Trafalgar-square. — 
NOTICE to ARTISTS. — All WORKS of PAINT- 
ING, SCULPTURE, or ARCHITECTURE, intended 
for the ENSUING EXHIBITION at the ROYAL 
ACADEMY, must be sent in on MONDAY, the 4tli, or 
by Six o'clock in the evening of Tuesday, the 5th of 
April inat., after which time no work can possibly be 
received, nor can any works be received which nave 
already been publicly exhibited. 

The other regulations necessary to be observed may 
be obtained at the Royal Academy. 

Henry Howard, R.A., Sec. 
Every possible care will be taken of works sent for 
exhibition ; but the Royal Academy will not hold itself 
accountable in any caae of injury or loss, nor can it un- 
dertake to pay the carriage of any package which may 
be forwarded by carriers. . 

N.B. Pictures and Drawings will be received on the 
south side of the building, and Sculpture on the north. 

The prices of works to be disposed of may be com- 
municated to the Secretary. 

E LECTROTINT; or the Art of making 
Paintings or Drawings in such a manner that, by 
the Electrotype Process, Copper Plates or Blocks can 
be obtained from them, capable, when printed from, 
after the manner of engraved platea or wood blocks, 
of yielding fac-simile Impressions of the Original 
Paintings or Drawings, by T. Sampson; with Illus- 
trations of Textures, Brushes, &c. Published by E. 
Palmer, Philosophical Instrument Maker and Pa- 
tentee, 103, Newgate-street, London, price Is. 6d 
N. B. A few copies, in royal octavo, bonnd in cloth, 4a. 
Electrotint Portrait of Her Most Gracious Majesty 
the Queen, in the act of signing a pardon, by T. Samp- 
son; Two* Fruit Pieces/ by G. Lance; 1 Fisherman,' 
sketched from life by T. Sampson; ‘ Study of a Head,' 
by Wilkie, by T. Sampson, and several others, just 
published by E. Palmer. Pitentee, 103, Newgate- 
street, London, price 7s. 6d. India proof impressions, 
quarto. 

N.B. WANTED several sets of ORIGINAL DE- 
SIGNS, suitable for Illustrations of Popular Works. 
Apply to the Patentee before Ten o’clock any morning, 
with Specimens. 


TO THE ADMIRERS OF VAN DE VELDE. 

J ARMFIELD SMITH has a very fine 
• PICTURE by this celebrated Master for SALE. 
May be seen at No. 1, Red Lion-passage, Red Lion- 
street, Holbom. 


B 


RISTOL AND CLIFTON ART-UNION. 

Patron and President, 


His Grace the Duke of Beaufort, 

Lord High Steward of Bristol. 

V I CK-PRES I D E NTS, 

The Right Worshipful the Bush, Esq. 

Mayor Rev. John Eagles, A.M. 

The High Sheriff J. S. Harford, Esq., D.C.L. 

Hon. F. H. F. Berkeley, F.R.S. 

M.P. R. Bright, Esq. 

P. W. S. Miles, Esq., M.P. P. J. Miles, Esq. 

A. G. H. Battcrsby, Esq. 

Committee. 


C. W. Bowden, Esq. Rev. John Eagles, A.M. 

W. D. Bushel), Esq. J. Harrison, Esq. 

K. Clark, Esq. Dr. Lawrence Harrison. 

H. Clark, Esq. J. Hill, Esq. 

J. Coates, Esq. F. Jarman, Esq. 

C. T. Coathupe, Esq. Q. Kennedy, Esq. 

W. Cave, Esq. J. King, Ksq. 

Rev. W. Millner, A.M. H. S. Powell, Rsn. 

A. H. Palmer, Esq. Dr. J. A. Syroonds. 

G. Cumberland, Jun., Esq. E. Waldo, Esq. 

Treasurer.— G. A. Ames, Esq. 
Secretary.— Mr. Robert Tucker. 

The constitution of this Association is similar to that 
of the Art-Union of London ; and an Engraving, of the 
published price of one guinea, will be presented to 
every Subscriber. The Shares are One Guinea each. 

Rob. Tucker, Secretary. 


ETCHING CLUB. 


T HE MEMBERS of the ETCHING CLUB 
are now engaged in the ILLUSTRATION of 
Milton's Poems “ L* ALLEGRO ’» and "IL PENSE- 
ROSO,” which will be Illustrated by upwards of 
Seventy Etchings, on the same plan as “The Deserted 
Village," though considerably enlarged. The whole 
of the Club, consisting of the following Members, will 
take a part in the work 
John Bell, Sculptor. Frank Stone. 

C. W. Cope. C. Stonhouse. 

Thomas Creswick. Fred. Tayler, Mem. Soc. 

J. R. Herbert, A.R.A. Painters in Wat. Col. 

J. C. Horsley. H. J. Townsend. 

J. P. Knight, A.R.A. Thomas Webster, A.R.A. 
R. Redgrave, A.It.A. 

The publication will take place about Christmas next. 
The following number of copies will be taken off, and 
the plates then destroyed. The delivery will be strictly 
according to the order of subscription. 

10 Reserved India-paper Proofs, before letters, half- 
colombier, at 13 Guineas each. 

50 India-paner Proofs, half-colombier, with the Poems 
engraved on the plates, at 10 Guineas each. 

250 copies India paper, quarter-colombier, at 5 
Guineas each. 

The number of copies to be printed has been well 
considered with regard to the capability of the Plates, 
and that every Subscriber may l»e assured he wi 1 re- 
ceive an impression in which the finer qualities of the 
Etchings shall not be destroyed. 

Subscribers’ names received by the Secretary, Mr. S. 
Redgrave, Hyde Park Gate, Kensington Gore; and 
Messrs. Longman, Paternoster- row. 

A few of the large paper Proof Impressions only 
of “ The Deserted Village " remain, ami may be ob- 
tained by application as above. 


ARCHITECTURAL CARD MODELLING. 
Patronised by her Most Gracious Majesty and his 
Royal Highness Prince Albert. 

M R. ANDREWS, of GUILDFORD, begs to 
introduce to the notice of the Nobility, Gentry, 
and the Public generally, a novel branch in the Fine 
Arts, viz., ARCHITECTURAL MODELLING in Card- 
board in imitation of ivory. Specimens of this beau- 
tiful Art have been submitted to the inspection of her 
Majesty and his Royal Highness Prince Albert, who 
were graciously pleased to express their satisfaction, 
and to purchase Models of tne Pavilion, Brighton, 
and Saint George’s Chapel, Windsor. 

Gentlemen’s Residences modelled to order. 

Orders received by his Agents, Messrs. Reeves and 
Sons, 150, Cheapside, London, where Specimens may 
be seen ; also by the Arti8t,61, High-street, Guildford. 

PRIVATE VIEW FOR FOUR DAYS ONLY. 

M essrs, henry graves and co. 

have the honour to announce, that they will 
EXHIBIT in their GALLERY, to the Nobility and 
Gentry, for Four Days only, namely 
Friday , the Ut, Saturday , the 2nd, Monday , the 4 th 9 
and Tuesday , the 5th of April next , 

THE GRAND ORIGINAL PICTURE OF 

THE HEROES OF WATERLOO, 

Assembled at Apsley House, 

Previous to the 

BANQUET ON THE EIGHTEENTH OF JUNE, 

Most exquisitely painted by 
J. P. KNIGHT, fisq., A.R.A. 

This magnificent Picture has almost exclusively oc- 
cupied this talented Artist nearly four years, and con- 
tains Portraits of all the moat eminent Officers engaged 
at Waterloo, each individual Portrait having been 
painted from life on the large canvass, and not, as is 
customary, from Sketches copied into the Picture. In 
consequence of the great desire expressed by the Army 

g enerally to view this important Painting, Mr. Knight 
as kindly permitted this Exhibition, but only for the 
four days above-named. 

Tickets may be had at their Gallery, 6, Pall Mall ; and 
of Messrs. Leggatt and Neville, 79, Cornhill, by an 
early application. 

RESCO, ENCAUSTIC, and TEMPERA 
PAINTING. —Just published, by the Author, 
price 5s., and may be bad of the Artists’ Colourmen, 

A Practical Treatise on the above, being the sub- 
stance of Lectures delivered in the years 1838-39-40. 
By EUGENIO LATILLA. The Author intends giving 
a COURSE of INSTRUCTION in TEMPERA and 
FRESCO PAINTING, which, from the peculiar nature 
of the latter, will occupy tea entire days. Terms for 
the course, Five Guineas, to be paid in advance. 
Artists and Amateurs desirous of joining, are requested 
to communicate with Mr. E. L., at his Studio, 78, New- 
man-stree t. 

Just published, a New Edition, 18mo, 
price 5s. bound, 

H OYLE’S GAMES, Improved and Enlarged 
by New and Practical Treatises, with the Mathe- 
matical Analysis of the Chances of the most Fashion- 
able Games of the day ; forming an easy and scientific 
Guide to the Gaming Table, and the most popular 

Sports of the Field. By G. H , Esq. 

London : Longman, Brown, and Co. ; J. M. Richard- 
son ; Hamilton and Co. ; Whittaker ana Co. ; T. T egg ; 
Duncan and Malcolm ; Sherwood and Co. ; Sirapkin, 
Marshall, and Co.; T. Hearne; Cowie and Co. ; J. 
Dowding ; T. Bumpus ; J. Templeman ; Capes and Co. ; 
H. Washbourne ; J.Wacey; W. Edwards; T. Allman} 
and J. Thomas. Liverpool ; J. and J, Robinspn. 


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70 


THE ART-UNION 


[April, 


G OLDSMITH’S “DESERTED VILLAGE,” 

Illustrated by the Etching Club. 

The Plates to this Work have been destroyed. Im- 
pressions of the destroyed Plates may be seen at 
Messrs. Longman and Co.’s, in Paternoster-row. 

The edition in imperial 8vo. is all sold ; a few copies, 
printed on half-colombier paper, price Ten Guineas, 
and of the Proofs before Letters, price Thirteen Guineas, 
may still be had. 

London : Longman, Brown, Green, and Longmans. 

This day is published, in royal 4to., half-bound in 
green morocco, with gilt labels, price 16s. 

S KETCHES FOR RUSTIC WORK; 

including Bridges, Park and Garden 
Buildings. Seats and Furniture. 18 Plates. 
The Scenic Views in the Tinted style of Lincography ; 
with Descriptions and Estimates of the Buildings. 
ByT. J. Ricauti, Architect. 

This work, in addition to the Gate-lodge, Winter- 
house for Plants. Pigeon-house, Fishing-cottage, &c. 
&c., contains a design for a Gardener's-cottage, with 
Fruit-rooms, constructed exactly upon the principles 
advocated by Dr. Lindley, in the “ Gardeners' Chroni- 
cle " for Sept. 18, and Oct. 2, 1841. 

London : James Carpenter, Old Bond-street. 

Now ready, post 8vo., 18a., 

H andbook to the public galleries 

of ART in and near LONDON. With Cata- 
logues of the Pictures, accompanied by Critical, 
Historical, and Biographical Notices. By Mrs. 
Jameson. 

“ To each Gallery is prefixed a short historical and 
explanatory introduction, giving an account of its for- 
mation, its present state, the days and hours when 
open to the Public," &c. 

“ Mrs. Jameson has indulged in less of dissertation 
than we should have thought possible, producing in- 
stead, a Guide-Book of singular unity, clearness, and 
value. It could hardly be more thoroughly executed 
to keep the promise of its title."— Athenaeum. 

John Murray, Albemarle-street. 


Now ready, post 8vo., 12s., 

H andbook of Italian painting. 

Translated from the German of Kuoler, and 
Edited with Notes by C. L. Eastlake, R.A. 

Extract from Editor's Preface. 

“ This work is intended to supply a want long felt by 
persons endeavouring to acquire a knowledge of the 
Early History and Progress of the Art of Painting. 


easily intelligible guide, pointing out to the unlearned 
the leading style of Art— the perusal of which will 
serve as a fit preparation for a visit to the collections of 
Painting on tne Continent, and in our own Country ; 
while the remarks it contains with reference to the 


characteristics of Schools and individual Artists, re- 
commend it as a means of forming the taste." 

John Murray, Albemarle-street. 


Published in 4to., Price j? 4 10s. in French Boards; 
and on Royal Paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, '.Price j£7 7s., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Dutch, and English Schools; and 
Wood Cuts. By JOHN BURNET, F.R.8. 

1. On the EDUCATION of the EYE. Second Edi- 
tion. Price jffl 5s. 

2. On COMPOSITION. Fifth Edition. Price 15s. 
in boards. 

S. On LIGHT and SHADE. Fifth Edition. Price 
18s. in boards. 

4. On COLOUR. Fourth Edition. Priced 11s. 6d. 
in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the New Edition of the Encyclopedia 
Britannica— See the article on Drawing. 

James Carpenter, Bond-street. 


THE VERY CHOICE COLLECTION OF MODERN 
PICTURES OF JOHN TURNER, ESQ. 

B Y Messrs. CHRISTIE and MANSON, 
at their GREAT ROOM, KING-STREET, ST. 
JAMES’S-SQUARE, on FRIDAY, May 13. the small 
and veir select COLLECTION of PICTURES, the 
works of the most celebrated Modern British Artists, 
collected by John Turner Esq., and removed 
from bis late residence, Clapham Common; com- 
prising the ‘ Rabbit on the Wall,' the much-ad- 
mired work of Sir David Wilkie, painted for Mr. 
Turner, in 1816; a 4 Nymph and Cupid,' a beau- 
tiful work of the late W. Hilton; ‘The Morning 
■8tar,' a highly poetical design, by Howard, R.A. ; a 
most capital Asty important work of Morland ; 4 Richard 
and SaJadin,' ana two others, by Cooper, R.A. ; 
three charming subjects of Rustic Figures, by With- 
erington; and some of the happiest efforts of the 
ollowing talented artists :— 

Ward 1 Burnet Cooke 

Clennel Linnell Good 


Allen / E. Cooper J. Wilson 

Starke Shetky Shayer. 

The CoRectimt may be viewed three days preceding 
the Sale, amt Catalogues had. 


THE VALUABLE COLLECTION OF PICTURES OF 
THE LATE ALLAN GILMORE, ESQ. 

M R. PHILLIPS begs leave to announce that 
on^TUESDAY, April 12, he will have the ho- 
nour to SUBMIT to SALE by AUCTION, at his 
GREAT ROOMS. NEW BOND-STREET, by order of 
the Executors, tne first portion of the Valuable and 
Extensive COLLECTION of ANCIENT PICTURES, 
selected with great liberality and taste, by the deceased, 
from many oi the renowned galleries which have been 
sold daring the last forty years ; in particular those of 
Lucien Bonaparte, the Earl of Liverpool, Lord Rad- 
stock, Sir W. Drummonds, and Messrs. Hibbert, 
Turner, Webb^ and Sir T. Lawrence ; besides a number 
purchased during a tour which the deceased made on 
the Continent shortly after the peace. The pictures 
are all in a genuine state, uniting fine examples of the 
Italian, German, Dutch, Flemish, and French schools. 
The present portion will include many clever cabinet 
specimens or the Dutch and Flemish schools: in parti- 
cular, the works of Cuyp, Backhuysen, V. Velde. 
Teniers, J. Steen, Ruysdael, Berchem, Netscher, and 
others, two fine Landscapes by Swaneveldt, and several 
scriptural pieces by masters of the Italian school. 

May be publicly viewed two days preceding the Sale, 
and Catalogues then had at Mr. Phillips's office ana 
rooms as above. 

A PRIVATE COLLECTION OF CHOICE CABINET 
PICTURES. 

M R. PHILLIPS begs to announce that he 
is instructed to SELL by AUCTION, at his 
GREAT ROOMS, NEW BOND-STREET, on TUES- 
DAY, April 19, at One precisely, 

A CHOICE and HIGHLY PLEASING COLLECTION 
OF EIGHTY ANCIENT CABINET PICTURES, 
by distinguished Masters of the Italian, Dutch, Fle- 
mish, and French Schools, having been selected with 
judgment and taste as to subject, at considerable cost, 
Dy the present owner, J. Pittar, Esq., during a long 
residence on the Continent. In particular may be 
mentioned a 4 Virgin and Child,' by Fra Bartolomeo, 
and a similar subject by A. del Sarto ; Landscapes, by 
G. and N. Poussin; 4 Rembrandt in his Atelier.' by 
G. Dow, of exquisite finish ; a 4 Music-master and his 
Pupil,' G. Terburg; a 4 Landscape, with Horses Water- 
ing,' Wouvermans ; two by Cuyp ; a 4 Landscape, and 
Cattle,’ P. Potter; a fine 'Composition,' by Both; 
‘Twelfth Night,' J. Steen ; four 4 Scenes in Venice,’ by 
Canaletto ; and other interesting works by masters of 
the highest repute. 

To be publicly viewed two days preceding the Sale, 
at Mr. Phillips’s Rooms, as above, and Catalogues 
then had. 

MODERN WATER-COLOUR DRAWINGS, OF THE 
VERY FIRST CLASS. 

B Y Messrs. CHRISTIE and MANSON, at 
their GREAT-ROOM, KING-STREET, ST. 
JAMES’S-SQUARE, on WEDNESDAY. April 20th, 
and following day, at One precisely, the First Part 
of the unique COLLECTION of PAINTINGS in 
WATER COLOURS, by the most eminent English 
Artists, formed by Henry Ashlin, Esq., and se- 
lected with distinguished taste and boundless liberality, 
chiefly from the easels of the painters, and which have 
formed the leading attractions of the exhibitions of 
several successive years in the Gallery of the Society 
of Painters in Water Colours. Among them will be 
found 4 Plymouth Sound,’ by Turner, R.A. ; 4 Charles I. 
on Horseback, a prisoner,’ the noble work of F. Tayler : 
the celebrated 4 king Arthur,’ 4 Bridlington Pier,* ana 
‘Crowborough ;’ and many other of the finest works of 
Copley Fielding, and first-rate works of 

Catttermole Lance Pyne 

Chambers J. Lewis Richter 

Cox Nash Vickers 

Hunt Nesfield Wright. 

May be viewed two days preceding, and Catalogues 
had. 

CAPITAL ENGLISH PICTURES. 

B Y Messrs. CHRISTIE and MANSON, 
at their GREAT ROOM, KING-STREET, ST. 
JAMES’S-SQUARE. on FRIDAY, May 6, at One 
precisely, a COLLECTION of PICTURES, by the 
most eminent English Painters, formed by that dis- 
tinguished patron of British Art, Robert Vernon, 
Esq. ; comprising works of upwards of sixty artists of 
the English School, among them will be found speci- 
mens of the following artists : — 

West, P.R.A. Turner, R.A. Gill 

Sir A. Callcott, R.A. R. Wilson Offiand 

A. Chalon, R.A. Uwins, R.A. Hurlstone 

Collins, R.A. Knight, A.R.A. Linnell 

Cooper, R.A. Webster, A.R.A. Linton 

W. DanielK R.A. Witherington,A.R.A. Liversiege 

Eastlake, R.A. Allen Pidding 

Etty, R.A. Barker RippingiU 

Fuseli Bonnington Thayer 

Hart, R.A. Mrs. Carpenter Sharpe 

Jones. R.A. Corboula, sen, Stanley 

Lee, R.A. Creswick Starke 

Roberts, ‘R. A. Davis Wyatt. 

Stothard, R.A. Farrier 

Thompson, R.A. Frazer 

May be viewed two days preceding, and Catalogues 
had. 


PAINTING AND DRAWING MATERIALS. 

R oberson and Co., 51. long acre, 

Artists' Colourmen and Pencil Makers, beg to 
call the attention of Artists and Amateurs to tndr 
New List of materials for Drawing, Painting, flee., 
manufactured and sold by them. 

In addition to every article hitherto used, it com- 
prises all the New Colours and improved methods of 
preparing them, both for Oil and Water Colour Paint- 
ing. 

OIL COLOURS of the finest quality, in Metallic 
Collapsible Tubes, Glass Tubes, and Bladders. 

WATER COLOURS in Cakes and in the Moist State 
for Sketching. &c. 

PREPARED CANVAS for Oil Painting, with Indian- 
rubber, Oil, or Absorbent grounds. 

Flemish ground MILLBOARDS and PANELS. 
VEHICLES and MEDIUMS, prepared from Silica 
and Borax, in bottles and powder, after the recipes of 
Lieut. Hardy, and J. Eagle, Esq. 

Macgelph, Gnm Medium, Gumption, and Prepara- 
tion of Copal for Oil Painting. 

WHATMAN’S DRAWING PAPERS, London and 
Crayon Boards, and Harding’s new pure Drawing 

French BLOCKS for Sketching in Oil and Water 

Colours. 

SABLE and CAMEL HAIR PENCILS, Goat, Hog, 
and Badger Hair Brushes. 

FINEST PURE CUMBERLAND LEAD DRAWING 
PENCILS, of various degrees of hardness, at the recent 
reduction in price. 

ROBERSON AND CO. have much confidence in 
respectfully stating, that they continue to supply the 
above, and every other article connected with their 
business, of the very first quality and at the lowest pos- 
sible prices. 

MANUFACTORY, 51, LONG ACRE, LONDON. 

WINSOR AND NEWTON’S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 

FOR OIL PAINTING. 


and N.’s Compressible Metallic Tubes 
• are made on an entirely novel plan, of a 
series of layers or rolls of extremely thin metal ; they 
are extremely light, yet have great strength and tough- 
ness, so that theyarc not liable to split and leak, aa is 
the case with all Tubes made on any other plan. 

By a process peculiarly original. W. and N. line entry 
Tube tettk a thin membranous substance , and thereby 
prevent the very injurious effect occasioned to colours 
which are long kept i redirect contact with a metallic 
surface. The most delicate colour is thus effectually 
protected from any chemical action that might other- 
wise cause its deterioration. 

The oil colour is ejected from these Tubes in a man- 
ner similar to that in which colour is expressed from 
the common bladder colour, by squeezing or compress- 
ing between the thumb and finger, so that the colour is 
always kept gathered up in a compact state ; the empty 
part of the Tube remaining closed or compressed be- 
hind it. 

The bottom of the Compressible Tube is cemented in 
a manner entirely new, which gives a security to the 
Tube not before obtained, ana renders it impossible 
for the contents to be forced out through accident or 
imperfect closing. 

W. and N. beg to apprise their Patrons that the! 
new manufacture of Compressible Metallic Tubes i r 
entirely original ; and, excepting the tubular form 
(which has Been generally adapted in various contri- 
vances for preserving oil colours for the last fifty years), 
their Tubes are not similar in their manufacture to any 
of the numerous other tubes applied to the preservation 
of oil colours now in existence. 

They are light and portable, and may be packed with 
safety among linen or paper. They preserve oil colour 
for any length of time, are peculiarly adapted for ex- 
pensive colours, and offer the most perfect mode of 
sending oil colours to warm climates. 

The advantages of these Tubes maybe thus enmmsreded. 

The preservation of the colour free from skins. 

The cleanliness with which the art of painting may 
be pursued, either by artist or amateur. 

The readiness with which the colour may be pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and danger of breaking or 
bursting. 

Economy in use, and moderate price. 

TO BK HAD, WHOLESALE AND KKTA1L, AT 

WINSOR AND NEWTON’S 
ARTISTS’ COLOUR MANUFACTORY, 

38, RATHBONB PLACE, LONDON. 

Price 6d. each, to be filled with colour (Cobalt, Mad- 
der, Lakes, &c., extra as usual). 



Digitized by 


Google 






1842 .] THE ART-UNION. 71 


THE ART-UNION. 



LONDON, APRIL 1, 1842. 


CONTENTS. 


1. PICTORIAL IMITATION 71 

3. HISTORY OF ART 73 

3. THE BRITISH INSTITUTION 73 

4. THR ARTS IN CONTINENTAL STATES: 

ITALY; FRANCS; SAXONY; BOHEMIA ; 

gbrmany; Prussia; grbbcb 78 

5. ART APPLIED TO MANUPACTURBS 79 

A. WORKS IN PROGRESS 80 

7. ARCHITECTURAL MBMS 80 

8. EXHIBITION OP THB LOUYRB 81 

9. VARIETIES : 


ROYAL COMMISSION POR PROMOTING 
AND ENCOURAGING THE PINE ARTS IN 
THR DRCORATION OP THR NEW HOUSES 
OP PARLIAMENT; ART-UNION OP LON- 
DON ; ASSOCIATION POR THE PROMO- 
TION OP THE PINE ARTS IN 8COTLAND ; 
HAMPTON-COURT PALACE; THE THREE 
WELLINGTON STATUES ; METROPOLI- 
TAN IMPROVEMENT SOCIETY ; SCHOOL 

OP design; painters* etching so- 
ciety; ARTISTS* EYES; THE PONIA- 
TOWSKI gems; THB APPLICATION OP 
PAINTING TO ARCHITECTURAL DECO- 
RATION ; PROCESS OP BLECTROTINT *, 
* LA ZINOARA*,* STRAWBERRY HILL; 
NASH*B DRAWINGS; THE HEROES OP 


WATERLOO, ETC. ETC 81 

10. SOCIETY OP BRITISH ARTISTS 85 

11. ART IN THE PROVINCES 85 

IS. CORRESPONDENCE 86 

13. REVIEWS OP PUBLISHED WORKS 87 


PICTORIAL IMITATION. 

Sir, — In requesting a portion of your valuable 
•pace, I make no pretension to novelty ; my ob- 
ject fa, In the first place, simply to advocate a 
return to modes of practice which, in a particular 
branch of Art at least, have been superseded by 
others ; and which, instead of improving the Art, 
have, I fear, in some respects, tended to its dete- 
rioration. I shall also avail myself of the oppor- 
tunity of suggesting caution in the adoption of 
newly -proposed 44 Materials but as I do not 
Intend to be the cause of further controversy on 
a subject which has already occupied too many 
of your columns with but little profitable re- 
sult, I beg to assure you and your correspondent, 
to whom my remarks apply, that having thus 
fulfilled what I conceive to be a duty, I shall not 
be induced to add another word in extension of 
the argument. 

Dry den, in his admirable parallel between 
poetry and painting, truly says, 44 To imitate 
nature well, in whatsoever subject, is the perfec- 
tion of both Arts ; and that picture, and that 
poem, which comes nearest the resemblance of 
nature, fa the best : but it follows not that what 
pleases most in either kind, is therefore good, but 
what ought to please.** And again, 44 Imitation 
pleases because truth is the object of our under- 
standing, as good is of our will ; and the under- 
standing can no more be delighted with a lie, 
than the will can choose an apparent evil.** 
These, Sir, are not merely trite sayings or inap- 
plicable truisms ; they are important practical 
truths, which, although too often neglected or 
violated, have formed the governing principles of 
all those great painters who are called masters. 
Reynolds also (whose authority is still more to 
our purpose), speaking of himself, says, 44 I 
always endeavoured to do my best ; great or vul- 
gar, good subjects or bad, all had nature ; by the 
exact representation of which, or even by the en- 
deavour to give such a representation, the painter 
cannot but improve in his art.” There is, I be- 


lieve, no practical branch of the Fine Arts in 
which there exists so little definite agreement, and 
concerning the principles of which so little infor- 
mation is to be found in books, as that which 
relates to the art of colouring in imitation of 
nature. Even Reynolds speaks of the 44 uncer- 
tainty of hU procedure,” and admits, with seem- 
ing regret, that he had never been 44 settled with 
respect to colouring.** 

The great difficulty in Art is the art of ana- 
lyzing nature. The most valuable, and perhaps 
the rarest qualification for the practice of paint- 
ing, is the faculty of seeing things not only as 
they actually appear, but also, as it were, analy- 
tically, through the perplexing obscurity of their 
combinations ; for it is only in proportion as we 
possess this power, that we can expect to render 
the means of imitative Art accordant with the 
means which nature herself employs. 

It appears to me that, as regards the imitation 
of nature, the circumstances which more espe- 
cially demand the consideration of a painter, are— 

First. The general light by which objects are 
rendered visible. 

Secondly. The shadows, by means of which we 
judge concerning form, projection, and texture. 

Thirdly. The colour of the general light. 

Fourthly. The colours (called local) resulting 
from the varied powers of surfaces and substances, 
as regards the decomposition, reflexion, and trans- 
mission of light. 

These circumstances would seem to comprise 
or affect whatever can be made the subject of 
imitative Art ; and it is by them we ought to be 
guided in searching for principles of imitation. 

The consideration which first presents itself to 
my mind is that mere light and shadow are inde- 
pendent of colour ; and I gladly avail myself of 
the fact as a probable means of elucidating and 
simplifying operations of Art ; for there is suffi- 
cient difficulty in giving a true representation of 
form and texture in natural gradations by means 
of light and shade alone ; how much more, if the 
mind be perplexed by attempting to render, at 
the same time, and by means of a simultaneous 
commixture of pigments, another class of qualities 
materially distinct from, and independent of them. 

We know that many of the productions of na- 
ture are devoid of colour, and it is evident that if 
all things were at once deprived of the property 
of decomposing light into its constituent colours, 
and consequently of reflecting and transmitting 
any but white light, black and white would then 
be the only pigments necessary. Indeed, colours 
would then have no existence. Let us suppose 
that, immediately on our completion of a faithful 
transcript of such a specimen of decoloured nature 
in all its gradations of tone and variety of tex- 
ture, our models at once regain the power of re- 
flecting and transmitting colour; that foliage 
resumes its vernal green or autumnal orange ; the 
sky its azure, the rose its red ; and that all things 
become tinged with endless variety of appro- 
priate hue. 

What relation does our colourless picture 
now bear to its coloured models? Must we 
recommence our work on some new principle? 
By no means ; we know that the change we have 
described is one of addition merely ; and could 
we but endae the various portions of our pictured 
tablet, with the same varied power of reflecting 
decomposed light with which we supposed its 
prototype to have been invested, we should have 
achieved the perfection of imitative colouring. 

As ours is not, however, a creative power, but 
an imitative and adaptive art, we are compelled 
to apply to the colourless surface of our picture 
various materials, indispensable as affording co- 
lour, although objectionable on the score of their 
chemical or mechanical constitution ; and we 
must obviate, as we best can, such difficulties and 
imperfections as the nature of those materials 
impose upon us. 

The illustrative case, which I have thus stated 
hypothetically, is neither unnatural nor merely 
imaginary, for it may be made the subject of 


actual experiment with any particular model, or 
arrangement of models ; and it may serve to re- 
mind us that in nature the manifestation of form, 
and also of what is called texture, is an effect of light 
and shadow merely. I think it also tends to show 
that to attempt the representation of light, shadow, 
and colour in a single process or operation, is a 
deviation from natural principles. 

The results of the mode of practice which I 
think nature herself indicates, proves how much 
the value of colour, and how many of its beau- 
ties, both of the delicate and splendid kinds, de- 
pend upon its being kept distinct from, and inde- 
pendent of, light and shade, in the conduct and 
execution of a picture. 

If what we consider a principle be really such, 
it will consist with all styles of Art, and probably 
also admit of great variety in the methods of its 
application ; it would therefore be equally pre- 
sumptuous and unnecessary to prescribe for the 
practice of any one acquainted with the properties, 
and habituated to the use, of the ordinary means 
and materials of Art. I may, however, be al- 
lowed to enter somewhat into particulars for the 
purpose of rendering my views the more intelli- 
gible to amateurs and those to whom the prac- 
tice of the Arts is new. In so doing, I shall 
avail myself chiefly of that branch of Art which 
appears to offer the clearest illustration of my 
meaning. 

Of the two great branches into which the art 
of painting is divided, the method called distem- 
per appears to be the most ancient ; and although 
it was at an early period generally superseded by 
the practice of employing pigments mixed with 
an oily or resinous vehicle, water-colour painting 
has in our own time been revived with such ex- 
tension of its capabilities, and such novelty in its 
manipulations, as to render it almost a new Art. 

Oil colours and water colours have their re- 
spective and peculiar advantages : but my pre- 
sent object is not to compare or contrast them, 
although I shall have occasion to refer to both 
for purposes of illustration. 

The early specimens of Art in watercolours 
had certainly few claims to the title of paintings. 
They consisted of drawings in Indian ink, slightly 
stained or tinted with colour. We are chiefly 
indebted to the enlightened views of Dr. Munro, 
who incited Turner and Girtin to emulate the 
depth and richness of the fine specimens of oil 
painting in his possession ; and still more to the 
establishment of the Society of Painters in Water 
Colours for the extraordinary development of 
this delightful branch of Art; many specimens 
of which leave nothing to be desired as regards 
solidity, force, or any of the requisites of verisi- 
militude. 

There are, however, in my decided though 
humble opinion, two very important points in 
which the present prevalent style or method of 
using water colours is productive of far less satis- 
factory results than the 44 old-fashioned** mode of 
procedure : I advert to the representation of at- 
mospheric space, and its concomitant quality — 
evenness of tone. Some admirable examples of 
these important and indispensable qualities, 
are to be found in the comparatively early 
works of Girtin, Turner, Clennel, and a few 
others whose names it might seem invidious 
to mention. These are evidently mere tinted 
Indian ink, or grey drawings, as any one will be 
convinced who may attempt to copy them ; for 
their peculiarities are scarcely imitable by any 
other means than those by which they were 
themselves produced. And lest I should be mis- 
understood as to the quality of the particular 
works to which I refer, I beg to say that they 
are neither feeble in effect, nor deficient in co- 
lour; they are such as 44 stand their ground” 
among some of the mo4t forcible of the recent 
works of Turner, Prout, Bonington, and Hunt 
Turner is one of the few instances of a land- 
scape painter completely adhering to the good 
old plan of executing his effect of light and 
shadow, independently of colour. This fa not 


1 


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72 


more evident in his earliest productions, consist- 
ing of mere flat washes, than in those more re- 
cent works, which exhibit a most accomplished 
acquaintance with all the various technicalities 
of Art, and a power of combining them with an 
extraordinary degree of skill, taste, and feeling. 

Although you have heard much of late respect- 
ing vehicles and mediums, you may perhaps not 
be aware, that there is almost as much discussion 
amongst water-colour painters as to the vehicle 
of Turner, as amongst oil painters respecting that 
mysterious medium of Van Eyck, and with about 
the same degree of profitable results. No secret 
has in either case been discovered, simply because 
none existed. Starch, paste, rice water, and I 
know not how many similar things, have had the 
credit of certain peculiar qualities .observed in 
Turner’s water-colour drawings, especially as re- 
gards a luminous bearing out of delicate tints 
without gloss. 

These peculiarities will be found to result from 
a delicately-balanced application of colour over 
the various gradations of a preparation of neutral 
light .and shade, producing, with great actual 
transparency, extremely tender tones of colour, 
possessing such an appearance of solidity as to 
resemble the effect of opaque body colours. The 
value of his colour is enhanced by nothing so 
much as by the homogeneity of his light and sha- 
dow. I use the term homogeneity in opposition 
to that patchy effect which is the natural result 
of the practice which at present prevails of com- 
pounding tints and tones, lights and shades, upon 
the palette, and then placing them in a sort of 
juxta-position on the picture. I suppose the best 
recommendation of this method is the one which 
we so often hear, viz., “ it is so much more 
painter-like than the old method.” 

Pictures painted in this “ painter-like ” style 
(especially landscapes), however skilfully mani- 
pulated, scarcely ever appear to recede from the 
frames in which they are placed, but frequently 
the reverse. They have, moreover, a disjointed 
and unquiet look, in spite of all the spurious 
atmosphere which washing and sponging, even to 
the verge of woolliness, is capable of producing. 

The eye of the painter, however accurate, is 
liable to be imposed upon during the process of 
compounding tints and tones. That which per 
se appears neutral, derives colour from the eye 
itself ; and that which is coloured may assume a 
temporary appearance of neutralness; for we 
know that with whatever colour the eye is excited, 
its complimentary or accidental colour is trans- 
ferred to and superimposed upon the immediately 
succeeding object of vision. And so it is that 
colourless shadows derive from the eye itself that 
colour which naturally enhances the colour of 
their lights, or in other words, the colour of sha- 
dow becomes complimentary to that of its light. 

It would therefore seem a safer practice to 
‘ 1 dead colour ” with a neutral, previously com- 
pounded, than to encounter the conflicting cir- 
cumstances attendant on its extemporaneous com- 
position. And a perfectly homogeneous neutral 
is preferable to one compounded. A tint com- 
posed of red, blue, and yellow particles, varies 
according to the nature of the light by which it 
is seen ; for instance, by candle-light the yellow 
particles lose their power; some of the blues 
look green, others grey, and the red particles 
have undue force. Whereas the carbonaceous 
blacks, seen by whatever light, are uniform, and 
they are moreover exceedingly permanent. 

On a former occasion, I ventured to observe 
that “ although there are dark substances enough 
in nature, and dark pigments among the rest, 
there are no such things as dark colours ;” I might 
also have added, that whatever seems to partake 
of the nature of colour, yet is at the same time 
darker or more neutral than the secondary co- 
lours of the prismatic spectrum, may have such 
additional degree of neutralness represented in 
the same way, and with the same material, as 
though it were actually shadow. If the princi- 
ple be sound, there need be no misgiving as to 


THE ART-UNION. 


the result of its being fairly tested by experiment 
and practice. Methods may be varied to meet 
exigences induced by the defective nature of 
materials. All that I would contend for is, 
merely that the effect of light and dark be, as 
far as possible, treated independently of colour, 
in a picture considered as a finished work of 
Art . 

In order to enable those who may dissent from 
my views the more easily to correct me if I be in 
error, I will suppose a picture — the material, 
water colour — the subject, landscape (and to 
render the test as secure as possible) with a light 
and cloudless sky, the sun nearly or quite in the pic- 
ture. It is evident that to be natural, such a 
sky must be on a very light scale. There would 
still be some gradation, however tender. Now, 
I do not hesitate to say, that this sky may be 
rendered in a perfectly satisfactory manner if the 
gradations be obtained with pure black, and the 
subsequent colour will have its full value, al- 
though I am aware that a similar effect may be 
produced by a successive application of the pri- 
mary colours ; but, as a general mode of practice, 
it may be done better, and with more atmosphere , 
on the black system. 

To save the valuable time and space of your 
readers, I will briefly observe, that the whole pre- 
paration for colouring such a picture as I have sup- 
posed should go considerably into detail, and would 
resemble a pale mezzotint print. On proceeding 
to colour this chiaro-scuro, it will be found that 
much of it may remain as a finished representa- 
tion of distant objects and vapoury atmosphere. 

All that has any important relation to colour- 
ing, is on this principle reduced to its most sim- 
ple elements. Colouring may, in fact, be said to 
consist merely in the application of the three 
primitives, red, blue, and yellow ; or (it may be) 
also of what are termed the secondaries, purple, 
orange, and green, to a previously executed re- 
presentation of light and shade, which contains 
within itself an important, though not, perhaps, 
complete provision for the tertiary and those 
other more complex combinations of colour 
which deter the uninitiated, and render the act of 
colouring difficult and uncertain to all. 

Although I have, for the sake of more easily 
stating my views, referred only to the processes 
of water-colour painting, the principle is, as I 
have before observed, equally applicable to the 
art of painting in oil, although the manipula- 
tions, and perhaps the order of the processes also, 
may need some degree of modification, to suit 
the peculiar requirements actual or conventional 
of that description of Art. 

It is said to have been a favourite opinion of 
Titian, transmitted by Boschini, “ that whoever 
aspires to become a painter, must make himself 
familiar with three colours, and have them ready 
on his palette — these are, white, black, and red.” 

Reynolds, in his notes of a journey to Flanders, 
speaking of a portrait by Titian, says, “ The 
shadows are of no colour.” 

Reynolds’ opinion, that “ a picture should look 
as though it had been prepared in one colour,” 
his “ unity of light and unity of shadow,” are all 
indications of what we may expect to find in 
their works, and what I think they actually con- 
tain. It is still, however, a question as to the 
best method of applying the principle, and one 
on which amateurs and the younger practitioners 
of Art might be materially benefited by the com- 
munications of their more experienced brethren. 

The method which appears to be most con- 
sistent with principle , is similar to that of 
water colours, that is to say, painting with black 
on a white ground ; the black being gradated by 
dilution with the fluid vehicle ; the colour to be 
afterwards applied, partly by glazing, and partly 
by solid painting and scumbling. 

The objections to this method are the oily ap- 
pearance which results from a small quantity of 
pigment, combined with a large proportion of 
vehicle ; and although the use of turpentine, or 
other volatile diluents, may considerably limit 


[April, 


this defect, still the deficiency of a body of paint, 
in a considerable part of the picture would, I am 
aware (though I know not on what principle), 
be an insuperable objection to those who con- 
sider that an oil picture should posses certain 
constitutional qualities of “ im pasta,” texture, 
surface, See., independently of their being regarded 
as means of imitation. 

A second method, and one certainly embrac- 
ing more of those conventional requisites, with a 
tolerable adherence to principle, is that in which 
the lights and darks, and the atmospheric gra- 
dations, are obtained by painting with black and 
white commingled on the palette. This mode of 
practice is also attended with its difficulties, by 
reason of the peculiarities of many of our colour- 
ing materials. In the first place, we know that 
a mixture of black and white paints rather re- 
sembles what is called lead-colour than it does 
white in shadow ; and it requires good manage- 
ment to prevent a picture so prepared having a 
leaden appearance ; although, I believe, that 
many finely-coloured pictures have been so pre- 
pared ; and as regards landscape, it is even at- 
tended with some peculiar advantages. That 
which, when colourless, appeared heavy, becomes 
aerial on the due application of colour. u Impasta," 
to any extent of thickness, and texture, with any 
degree of roughness, may, of course, be so ob- 
tained. It is on proceeding to colour, that we 
are compelled to contradict our principle. I have 
under my notice, an instance (of a picture in pro- 
gress) in which is a satin curtain, of a colour 
which only vermilion can imitate. We can 
apply this pigment in a perfectly satisfactory 
manner upon the lights; but from its extreme 
opacity, it obscures and even obliterates the pre- 
viously executed shadows. There are many other 
pigments of equal value, the beauty of which is 
a consequence of their opacity ; and in order to 
avail ourselves of them, we are compelled, if not 
to accommodate our principles, at least to reverse 
the order of our processes. As regards our in- 
stance of the curtain, we must first lay down a 
flat tint of vermilion, and when dry apply neu- 
tral and comparatively transparent shades and 
shadows over it. 

This expedient naturally suggests tlie question, 
“ How far is it desirable to adopt it as a general 
mode of practice ?” As regards landscape espe- 
cially, it would be exceedingly perplexing and 
difficult to attend to the general effect while lay- 
ing down tints and tones of colour, to be after- 
wards wrought into form by shading upon them. 
In an interior, however, with a permanent ar- 
rangement of models, and an uniform admission 
of light, this method is very practicable. I have 
seen a well coloured and well connected picture 
painted by laying down the general colour of 
each object, as seen in the lights ; then applying 
the broad shadows, and making out the detail 
with the neutral shade ; and finally, by means of 
glazing and solid painting, giving the various 
parts, their individual peculiarities, both of colour 
and texture. 

Processes may be varied for the purpose of 
imitating some peculiar quality of the model, or 
we may be driven to particular expedients, in 
order to evade or obviate the imperfections of our 
materials ; but let us not be diverted from any 
principle which we know to be natural and sound. 
Let us not even be seduced into what may be 
called practical compromises. 

Principles are best tested by their application 
to extreme cases, by carrying them out to the 
extent of their capabilities as far as our means 
and materials will permit. As an instance of 
what I mean by the term compromise — I would 
adduce the very common practice of representing 
shadow even in open landscape-scenes with a 
rich brown colour, which, in the foreground, is 
frequently left unaltered in the finished picture. 
To say nothing of the want of truth in such a 
representation of what is essentially neutral — it 
is almost impossible to impart to it those deli- 
cate, cool, and pearly reflections which give such 


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1842 .] 


THE ART-UNION. 


73 


value to the shadows and half lights in nature, 
without either materially altering the depth of 
the shadow or interfering with its transparency. 

A neutral tone may easily be rendered brown 
where it is requisite, or, indeed, of any colour, 
either warm or cold, by glazing : but brown can 
neither be rendered neutral nor pearly in the same 
satisfactory manner. 

Such a practice, moreover, lays the abilities 
of a colourist under unnecessary limitations, and 
it compels him, as I have before observed, to 
throw away the advantage afforded by nature 
in the constitution of the eye itself, which neces- 
sarily transfers to a neutral shadow that hue 
which best sets off the colour of the lights. 

There are several other points connected with 
this subject, of which I would willingly have 
availed myself, but that I fear you will consider 
I have already engrossed more of your valuable 
space than might have sufficed for my purpose, 
and which, doubtless, would have been ample for 
any practised and expert writer. 

And now. Sir, if you can allow me to make a 
few observations with regard to Mr. Coathupe’s 
compound of borax, water, and oil, I will be as 
brief as I can. Mr. Coathupe has very explicitly 
pointed out some of the objections to which his 
vehicle is liable, but none which seem to me 
of any importance. 

The real objection to it is one which he ap- 
pears to have entirely overlooked. It render* 
the picture to a considerable extent liable to in- 
jury by the action of moisture after the colours 
have dried . I have received, from an eminent 
artist, some trials with powder colours laid on 
prepared canvass with the boracic solution, which 
experiments I have also repeated myself, accord- 
ing to the directions contained in your number 
for February, viz., “ mix the pigment, whether 
ground in oil or otherwise, wi^h as much oil as 
may be considered necessary, and then add the 
aqueous solution of borax ad libitum .” 

Your correspondent goes on to say the quan- 
tity of borax that can be thus used, will not be 
sufficient to act specifically “ as a drier.” The 
pigments used in the experiments to which I 
refer were purposely selected as being good 
driers, that nothing might be added beyond what 
Mr. Coathupe prescribes — warm and dry air was 
found sufficient for their desiccation. 

Now Mr. C. infers the insufficiency of oil and 
turpentine, “ because they have required a cover- 
ing of some other material that their original 
lustre might be displayed.” Will he undertake 
the responsibility of advising, that pictures painted 
with his vehicle, containing only just sufficient 
oil " merely to cement firmly the particles of 
pigment,” be left without such " covering,” or, to 
speak more plainly, without varnish ? The 
colours, of which I have spoken, “ cemented” by 
the means Mr. Coathupe advises, are even now 
acted upon by cold water so as to readily stain the 
fingers. What is to be expected of them after ex- 
posure for a century or so to all the vicissitudes 
of damp and dry ; and that, too, in permanent 
combination with a substance possessing (and re- 
taining) those properties (with regard to oil) 
which first determined its attraction for and mis- 
cibility with water? Mr. Coathupe says, a Tur- 
pentine appears to have its utility confined within 
limits much too circumscribed ;" but he does not 
inform us in what respects water is preferable as 
a diluent of oil to rectified turpentine, a fluid per- 
fectly miscible with oil, without the assistance of 
any saline or alkaline adjunct, which, having 
done its duty, evaporates, leaving nothing behind 
to detract from the value of its services. 

After stating that the borax of his vehicle will 
not act specifically as a drier, your correspondent 
adds,* g lass of borax does act as a drier, and so 
does the borate of lead. Does Mr. C. by this 

* Correctly speaking , I believe, the term glass is only 
applicable to the silicates of alkalies, earths, and metals. 
1 do not make this observation for the sake of quib- 
bling about words, but with reference to a passage in 
my last letter. 


mean to recommend the use of those substances 
as driers to his boracic vehicle? I suppose not; 
for he afterwards informs us, that " linseed oil 
possesses some constituent principles that must 
either be wholly abandoned or united chemically 
with some metallic oxide before it can become 
dry.” Afterwards we have, “ and now with re- 
gard to silex,” it has no chemical action what- 
ever (J. E. positively asserts it is an “ anti- 
drier”) when employed as it has been recom- 
mended ; it may, therefore, be introduced or 
omitted in any medium, agreeably to the fancy of 
the artist. I think Mr. C. will not quarrel with 
my translation of his “ some metallic oxide? 1 
into litharge; and so we have his authority or per- 
mission to employ a “ vehicle,” whose ingredients 
are precisely the same as those of Mr. Hardy. 

I suspect that the evil which Mr. Coathupe 
has been combating is not the one of which 
artists have most frequent cause to complain. 

They are not so often troubled respecting any 
chemical discolouration of white lead or pig- 
ments as by a loss of transparency in the film of 
dried oil , with which each individual particle of 
colour is enveloped, so that the pigment, which, 
while its vehicle was fresh, appeared bright and 
clear, shortly becomes dull and obscure. In this 
respect copal is, I think, very preferable to oil, it 
dries more transparently, and a smaller propor- 
tion of it better answers the purposes of a cement. 
Even in those cases, in which the colour of white 
lead is chemically affected, as in the instance 
your correspondent adduces, of “ the discoloura- 
tion of recently-painted white wainscoting, sub- 
sequent to the suspension of a picture that had 
been placed before the painted wainscot had be- 
come thoroughly dry and hard,” I do not be- 
lieve that the agents of this discolouration pro- 
ceed, as your correspondent imagines, from be- 
neath the film which forms the surface of the 
paint ; and for the following amongst other rea- 
sons. What is called “ flatted” colour, in which 
so little oil is used that it dries dull and porous, 
is more susceptible of this discolouration, and re- 
tains that susceptibility for a much longer period 
after its desiccation than the common kind of oil 
paint. If Mr. Coathupe’s theory were sound, the 
greatest discolouration of the lead would take 
place within the film, whereby he supposes cer- 
tain gaseous vapours to be confined : but the re- 
verse is the fact ; there is no discolouration at all 
within this film when there is much on its surface. 

I believe the real cause of this discolouration 
to be an undisturbed accumulation of sulphu- 
retted, phosphuretted, and carburetted vapours 
(the sources of which are numerous in all dwell- 
ing-houses) between the picture and the wall; 
and I observe, that with “flatted colour ,” in 
which the lead is but slightly protected by oil, 
the effect is produced for years after the paint 
has been applied. 

The action of sulphuretted hydrogen affords so 
delicate a test for the presence of lead, that in- 
visible letters, traced on a sheet of paper with 
even a very dilute solution of lead, become im- 
mediately legible on exposing the surface of the 
paper to sulphuretted hydrogen gas. 

If I be in error in this view of the matter your 
correspondent is quite capable of correcting me ; 
and I have felt it the more incumbent on me to 
venture these observations, because Mr. Coa- 
thupe, although (as I think) mistaken in the in- 
stances to which I have adverted, is evidently a 
man of practical knowledge in the science of che- 
mistry ; and he has endeavoured to render his argu- 
ment effective by all the means in his power. 
Amongst other things tending to that purpose, he 
has cited a formidable list of eminent chemical 
authorities on so simple an affair as the addition 
of water to borax until it can dissolve no more. 
Whatever benefit Mr. Coathupe might have in- 
tended to derive from these celebrated names, 
they clearly show that great chemists may be 
greatly mistaken in matters respecting which or- 
dinary folks would not have had sufficient inge- 
nuity to find any difficulty whatever. — J. H. M. 


HISTORY OF ART. 

(first to the sixteenth century.*) 

The frivolous luxury of the Romans had success- 
fully reproduced the’ varied form, under whose ex- 
pression the Greek worshipped the beautiful. When 
called into existence by the mighty mastery of 
Divine truth over the errors of the human mind, 
Christian Art first timidly exercised its genius 
upon the historical development of the rise and 
progress of a new and spiritual religion. It might, 
indeed, have adopted the technical skill, the 
finished form of execution that existed ; but by its 
early professors, Ancient Art was considered as the 
founder of idolatry, the encourager of heathenism, 
and of moral depravity. Artists at this period, like 
actors at a later, were denied sepulture ; any Chris- 
tian neophyte was excommunicated who followed 
the occupation ; and the very form of the divine 
Saviour was degraded, to prevent the adoption of 
any positive iconic individuality. But there is in Art 
an undying spirit, in the mind of man an eternal 
spring of reproduction. A typical and symbolic 
form, a kind of idyllic character, was soon im- 
parted ; the simple monogram of Christ was suc- 
ceeded by the varied representation of the * Good 
Shepherd,' of * Orpheus,' used as a mythic pre- 
figuration of the ‘ Saviour ;' and this was followed 
by a multitude, of ideal forms, directly or indi- 
rectly expressive of his life, miracles, and mission. 
These representations were chiefly found in mural 
paintings in the catacombs; the best and most 
expressive are in the cemeteries which bear the 
name of St. Calixtus on the Via Appia and those of 
Naples ; and in these we recognise the first prin- 
ciple of Christian Art, " which conveys with the 
objects it represents a still deeper meaning, thus 
exciting the mind of the beholder to correspond- 
ing activity of thought." Mosaic painting was dis- 
covered in the reign of Claudius, and when Rome 
became the seat of the Christian hierarchy, was 
greatly employed between the middle of the fifth 
and ninth centuries ; it marks the second period 
of ancient Christian Art, and, in connexion with 
this, we must consider Miniature painting on the 
books used for the service of the church. This 
latter custom prevailed greatly in the eighth or 
ninth century — it is the last ray of the most an- 
cient Christian Art in Italy, for the tenth and 
eleventh centuries produced, certainly, works, — 
remarkable for disproportion, awkwardness, 
and uncertainty. To the Byzantines we are 
indebted for the new life which was communicated 
to* Italy in the thirteenth century; but their 
pictures, though containing significant and clever 
motives , nevertheless betray the art of the low 
Greek of the Byzantine empire. . 

The strife and tempest of opinion, the civil wars 
incident upon the establishment of empires, or of 
minor free states, and the energetic error of 
ignorance and superstition, had poured the West 
upon the East, or convulsed Europe, when, in 
the thirteenth century, intellectual Literature and 
imitative Art 

u die ne la lor pih fresca etade 

Sien degne d’aver titol di beltade," 

arose to scatter and dispel the thick darkness 
which, like wintry clouds that obscure the beauty 
of the starry vault of heaven, had settled, and 
concealed by its gloomy oppression, that know- 
ledge of his powers , which is the cause of the 
exertion, the high aspiration, the real great- 
ness of man. But Art arose not with the imposed 
restriction of symbolic forms. It indicated an 
affinity with the taste of classic antiquity, an ex- 
tended study of the antique, a corresponding 
purity of form, a closer observation of nature. 
The first of such artists is Cimabue, born in 
1240 ; "in the free movements of whose figures, 
and in the successful attempt to express the mo- 
delling of the naked form, we recognise a decided 
and not unsatisfactory approach to the antique;" 
and who sought to give to traditional outline, the 
expression of a living intention. Resembling 
Cimabue, but in a more developed form, is Duccio, 
upon whom although Dr. Kuglcr has lavished 

E raises, rather more elaborate than critical, he 
as well observed, that so great are the indications 
of genius, " that he wanted but a few steps more 

* A Hand Book of the History of Painting. By Dr. 
Franz Kugler. Translated from the German by a 
Lady, and edited by C. L. Eastlake, Esq., R.A. 8vo. 
Murray. 1842. 




THE ART-UNION. 


[April, 


to attain the summit of Modern Art. 1 ’ Neverthe- 
less centuries separated him from the great mas- 
ters of its final development. The cause of this 
Dr. Kugler has well and succinctly explained : we 
are not prepared entirely to adopt his opinions, 
but they are highly deserving of the reader’s at- 
tention. We now reach the Tuscan school. In 
the subjective mode of conception of this period, 
the allegorical tendency has been too much con- 
sidered as characteristic of the individual ; it was 
the spirit of the age. Giotto, the friend of Dante, 
who thus speaks of him : — 

“ Credette Cimabue nella pittura 
T£ner lo campo ; ed ora na Giotto il grido, 
Sicchfc la fama di colui oscura,” 
is considered of this school the head. Dante or 
Giotto equally exhibit the allegorical conception in 
its grandest form, and first great effort. For poetry 
and painting are but varied expressions of thought. 


Of Giotto’s pictures we wished extensively to 
transcribe Dr. Kugler’s accurate account, but 
we must limit that pleasure to the following ge- 
neral description of his style : “In his heads, 
Giotto frequently exhibits a peculiar, and not very 
beautiful habitual form : the eyes are generally 
long and narrow, and very close to each other. 
In these newly-invented representations, founded 
on no ancient tradition, beauty was less his object 
than the expression of character, to make his in- 
ventions generally intelligible. Here and there, 
however, we find very graceful heads in his pic- 
tures, and the whole composition is always beau- 
tifully disposed in masses. Where the subjects 
require it, it is even treated in a peculiarly solemn, 
simple, and harmonious manner.” The most 
eminent of Giotto’s scholars was Taddio Gaddi. 
The greatest monument of the progress of Art, in 
this age, is the Campo Santo, or cemetery of Pisa. 
Many of these paintings are full of the deepest 
meaning, requiring neither symbol or allegory to 
convey the iaeas contained in them, but exhibiting 
a direct union between the conceptive and expres- 
sive nower. Of this, the cause may thus gener- 
ally be assigned. It was a period when religion 
had greatly influenced the mind, and constrained 
the direction of the intellectual power. Dante 
and Petrarch, stimulating and elevating thepassion- 
ate ambition of the Italian, quickening and refining 
his emotions, had also, by the stern grandeur or 
expressive beauty of their minds, imparted a simi- 
lar, though far distant mode of individual concep- 
tion to the artist, whose works thus assumed a 
form in which religious faith is combined and 
heightened by a kind of imaginative or lyric 
treatment. Art and poetry breathed alike an en- 
thusiastic sentimentality. Simone di Martino, 
whom Ghiberti has so praised, developed, in some 
degree, this style, which finally attained its great- 
est perfection in Angelico da Fiesole. The poetic 
character, for it was poetic ; an imaginative sensi- 
bility, serenity of feeling, and devout faith ; and 
this, united with the humblest submission to his 
religious superior, were no less indicative of the 
mind of Fiesole, than of others, his contempo- 
raries. The same style prevailed, at the same pe- 
riod, in other parts of Italy. Gentile da Fabriano 
is separated from Fiesole, as the active from the 
contemplative power. The present shed its joyous 
beauty, and formed the mind of Gentile; the 
purely spiritual happiness of the future was the 
creative excellence of the other. Hitherto the 
progress of Art has been traced as a scriptural 
language ; as the form of individual feeling ; the 
type of a powerful religious faith : we shall now 
consider its higher sphere, where truth, faith, and 
feeling are combined in composition with correct 
delineation, and guided by the study of nature. 
This characterizes the third period, from the fif- 
teenth to the beginning of the sixteenth century. 
The preceding eras had bestowed internal life; 
those we shall now treat of gave it external excel- 
lence of expression. Tommaso, Maso, or Masac- 
cio was the first who gave to Art this new direction, 
as Lippi to impart to its productions the sensual 
feeling of his own mind. Gozzoli caught the 
beauty of the material world, and “The ‘ Portrait,’ 
in the largest signification of the word, is the pro- 
minent characteristic in the productions of Ghir- 
landajo.” That which M. Rio terms the revival 
of the Paganism of Art, may be attributed to this 
period, for the study of the naked form, and of 
the masterpieces of antique sculpture was now pur- 
sued. The powers of fresco to enliven archi- 
tecture, and represent historic truth, had al- 


ready been displayed ; and the Venetians had ] 
become “ the first among the schools of Italy 
who practised oil painting, the greater fluidity and 
juiciness of which, compared with distemper, was 
highly favourable to their peculiar aim.” 

The particular inspiration of the Umbrian school, 
was its religious reeling. The crude forms of 
matter, have in all ages bom the impress of the 
spiritual power of man. The elements yield to 
him their strength, their varied aspect of beauty, 
their living inspiration; his intellectual powers 
of perception and combination, the moral law 
which guides their application, — all these unite 
in harmony and truth, to make man no less 
the evidence of the wisdom and greatness of the 
Deity, than of his superintending power. At no 
time could the religious impressions of Art more 
effectually have contributed to the progress of 
Christian civilization. The knowledge of ancient 
Art, would alone have transported the mind to the 
domain of that Art ; and the literature of Greece, 
by its imaginative beauty and graceful thought, 
would have spell-bound or precluded the trans- 
mission of those religious impressions of which 
Christian Art is no less the sign than cause. 

“ Purity of soul, fervent unearthly longings, and 
an abandonment of the whole being to a pleasing, 
sad, enthusiastic tenderness— these are the pre- 
vailing characteristics of the school to which we 
now turn our attention.” Perugino, Pinturicchio, 
and Francesca Francia, are of that school the 
disciples. We have now reached the great 
masters of the sixteenth century ; we are to con- 
sider Art in its highest development, and in its 
gradual decline. All the varied powers of creative 
or of technical excellence, the resources of classic 
antiquity, the truths of a purely spiritual religion, 
the taste awakened by the rich spoils of the past, 
the patronage of the state, and the intelligent 
condition of the people, by which, in the aggre- 
gate, Art can alone be nourished or perfected, — 
were now united to raise it to the elevation it 
assumed. True it is, that of this era there is no 
fixed type. Genius is not the arbitrary form of 
thought, but its varied expression : yet it bears 
in all and through all its gradations, the living 
aspect of beauty and of truth. It is not the 
property of an age or of a land; of a wealthy 
class, a peculiar sect: it depends not upon ex- 
ternal circumstances; its sphere is human life; 
its home nature ; — 

“ Leaving that beautiful which still was so. 

And making that which was not, ’till the place 
Became religion, and the heart ran o’er 
With silent worship of the great of old ; ” 

now speaking in the form of didactic poetry, or 
kindling emotion by lyric effusion ; equally im- 
pressive in iEschylus and Sophocles, as in Shaks- 
peare or in Milton : the antique type never re- 
jected, the modern form never despised ; but 
both made susceptible of a greater display of 
creative power by expansion, which seems to form 
its essence, its very nature : such is the power 
which Genius has exercised over social progress ; 
and under such combinations, it was exhibited by 
Da Vinci, M. Angelo, and Raffaelle. Poet, mu- 
sician, geometrician ; graceful in manner, eloquent 
in discourse; uniting the powers of imagination 
and reflection ; exhibiting in his works invention, 
design, colour, expression, feeling ; with faculties 
so various, that he seemed a circling sphere of 
light, we might well linger on the fame of 
Leonardo da Vinci, as one who advanced not only 
the greatness of Art, but the greatness of hu- 
manity. But to do this, to sketch his contempo- 
raries as they were in their own day, or as they 
still are ; by genius in solitary grandeur above 
man, by feelina in communion with him, would 
require not only a careful collation of opinion, 
but a critical consideration of their age, 

“ daring, 

And length of watching, strength of mind— and skill 
In knowledge of our fathers.” 

For, of works not tentative or experimental, 
not founded on exact deduction or philosophic 
truth, yet proceeding from admitted rules, the 
judgment is formed, not only by a comparison of 
excellence with excellence, but the progression of 
i the social state. 

i In colour inferior to some, in design superior 
f to all, Michael Angelo may be compared to .£s- 
. chylus or Dante, in that creative power of 
thought, that terrible energy of soul, which is 
conversant with images, from which the ordinary 


mind recoils, either from the fear of their pos- 
sible truth, or vague inability to grasp the sub- 
lime conceptions they display. Yet if they de- 
press us by their unattainable excellence, they 
elevate us by the study they enforce. 

“ Considerate la vostra semen za 
Fatte non fosti a viver come bruti 
Ma per seguir virtute, e conoscenxa.” 

The description of the ’Last Judgment* we 
shall copy from Dr. Kugler. “This immense 
work certainly stands alone in the history of Art. 
In the upper half of the picture we see the 
Judge of the world, surrounded by the Apostles 
and Patriarchs; beyond these, on one side are 
the martyrs ; on the other, different saints, and a 
numerous host of the blessed. Above, under the 
two arches of the vault, two groups of angels bear 
the instruments of the passion. Below the Sa- 
viour another group of angels holding the books 
of life, sound the trumpets to awaken the dead. 
On the right is represented the resurrection ; and 
higher the ascension of the blessed. On the left, 
hell, and the fall of the condemned, who auda- 
ciously strive to press towards heaven. The day 
of wrath (dies ine) is before us ; the day of which 
the old hymn says, 

“ Quantus tremor est futures 
Quando judex est ventures 
Cuncta strietd discuss urus.” 

The Judge turns in wrath towards the condemned, 
and raises his right hand, with an expression of 
rejection and condemnation ; beside him the 
Virgin veils herself with her drapery, and turns 
with a countenance full of anguish towards the 

blessed Trembling and anxious, the dead 

rise slowly, as if still fettered by the weight of 
an earthly nature; the pardoned ascend to the 
blessed ; a mysterious horror pervades even their 
hosts — no joy, nor peace, nor blessedness are to 
be found here.” To give the criticism of Dr. 
Kugler upon this would be impossible ; to select 
a portion would be unfair. 

An elaborate description of the ceiling of the 
Sistine chapel, a valuable note by the Editor, and an 
engraved illustration, will convey to the reader an 
accurate idea of the most perfect works executed by 
Michael Angelo in his long and active life. “ Here 
his great spirit appears in its noblest dignity, in its 
highest purity ; here the attention is not disturbed 
by that arbitrary display to which his great power 
not unfrequently seduced him in other works.” 

Raffaelle, born the 28th of March, 1483, in whom 
mind, feeling, and beauty of form seemed to unite, 
to give the world assurance of a man; and in 
whom, it has been well observed, the most oppo- 
site qualities are developed in their highest per- 
fection, and combined in their most harmonious 
union, must close our sketches of the characters 
of the artists, whose productions Dr. Kuzler has 
reviewed. Carefully detailed as are the descrip- 
tions given of his works, yet as these must be fa- 
miliar to the majority of our readers, we prefer 
extracting the following remarks ; not only because 
they present a general view of the power of the 
artist, but because they indicate the tone of the 
criticism, which forms a valuable and interesting 
feature in this work: “Like all other ar- 
tists, Raffaelle is always greatest when, undis- 
turbed by foreign influence, he follows the free, 
original impulse of his own mind. His peculiar 
element was grace and beauty of form, in as far as 
these are the expression of high moral purity. 
Hence, notwithstanding the grand works in which 
he was employed by the Popes, his peculiar powers 
are most rally developed in the * Madonnas’ and 
‘ Holy Families,’ of which he has left so great a 
number. In his youth he seems to have been 
fondest of this class of subjects ; and if his earliest 
works of this kind bear the impress of a dreamy, 
sentimental fancy, and the later ones of a cheerful 
conception of life, the works of this third period 
form the happiest medium between cheerfulness 


and dignity — between innocent playfulness and a 
deep penetration of the spirit of his subject. They 
are conceived with a graceful freedom, so deli- 
cately controlled, that it appears always guided by 
the finest feeling for the laws of Art. They place 
before us those dearest relations of life which form 
the foundation of morality, the closest ties of fa- 
mily love ; yet they seem to breathe a feeling still 
higher and holier. Mary is not only the affection- 
ate mother : she appears at the same time with an 
expression of almost virgin timidity, and yet as the 
blessed one of whom the Lord was born. The 



1842 .] 


THE ART-UNION. 


75 


4 Infant Christ’ is not only the cheerful, innocent 
child, but a prophetic seriousness rests on his fea- 
tures, which tells of his future sacred destiny.” 

It may be said of Raffaelle as of Shakspeare, 
in detached passages, as in single works, they may 
have been rivalled or surpassed; but in varied ana 
general excellence they are unequalled. 4 4 Raffaelle 
died of a short and violent fever; his delicate 
constitution, wrought to the highest degree of 
susceptibility by the increasing activity of his 
mind and body, offered no resistance to the vio- 
lence of his disease. Men regarded his works 
with religious veneration, as if God had revealed 
himself through Raffaelle, &s in former days 
through the prophets.” He was buried in the 
Pantheon, under an altar he had himself deco- 
rated, — a consecration -offering of his genius. 
Doubts having been raised as to this, a search 
was made in 1833, and Raffaelle’ s bones were 
found ; and on the 18th of October, in that year, 
they were re-interred in the same spot, with great 
solemnities. — Our sketch of the progress of paint- 
ing must here close : at a future period we trust 
to be enabled to return to this subject ; to trace 
the characteristics of other masters, the influence 
and excellence of other schools. The rise, pro- 
gress, and decay of Art presents to the mind 
many of the saddening incidents of life. How 
often do we not see the winning sweetness 
and simplicity of the child, succeeded by the 
truth, the buoyant animation, and beauty of 
womanhood? and whilst the mind dwells in 
tender veneration upon the fulfilment of the 
earliest hopes of its most natural affections, 
how often do we not see the gifted being whose 
features rest upon the mind ; or whose memory — 
a dream-like image, — a star veiled by the fleecy 
vapour of a cloud, is still recalled through the 
long vista of the past in a weakened aspect of 
beauty ; — a sweet and melancholy sound, as 
music on the waters ; or as the glory of day 
less bright, but not less beautiful, shadowed still, 
or lingering in the repose and blended charms of 
twilight, — 

44 Binding swe and melancholy of high strain or low. 
Not solely on th’ imaginative mind; 


Bat e’en en fleshlier natures ? ” 

How often do we not see a being, such as this, 
stricken by some slow and wasting disease, con- 
veyed to the corruption of earth as it were the 
spirit of s lovely sound, 

“ ----- born and dying, 

With the blest tone that made it ?” 

It was thus with the Arts of classic antiquity, — 
of Art, which was the mistress of Greek life, 
the servant of the luxurious sensual Roman ; it 
was thus with early Christian Art; and from 
the sixteenth century, when, as we believe, 
though utterly opposed to the doctrine of 
M. Rio, it had assumed its highest tendency, by 
blending inward feeling with beauty of external 
form, and thus has been its gradual, beautiful, 
yet perceptible decay. This must inevitably be 
the case when its mission is misunderstood. A rt, 
in the widest sense of the term, is the representa- 
tion of ideas, facts, or forms ideally treated. We 
can scarcely affirm the property of one of its varied 
modes of expression, which is not equally true of 
another. Poetic art realizes truth by imaginative 
similitudes; or by narrations so employed, that the 
mind conceives the existence of the fact, as being 
in accordance with life and nature, or by exciting 
emotions which real objects would create, if pal- 
pable to sight. If this be true of poetry, it is 
equally so of painting. Art is life ; animating mat- 
ter, pre-conceiving the future, the historian of 
the present; — words, the statue, the temple, or 
the canviss, are but eigne communicating its spirit 
unto man. As true eloquence is thought rightly 
expressed; as poetry is thought reflned, and 
heightened by imagination ; so painting is the same 
power blended with ideal excellence of form and 
elevated by its graceful characteristic of dramatic 
truth. We would most earnestly recommend this 
work to the attention of the student, the artist, 
and the connoisseur; to every one, in fact, but 
that last being in the scale of creation — an Utili- 
tarian, who is but the creation of Man in the 
coarsest deformity of his earthy and most material 
nature. The narrative is carefully compiled, the 
criticism original, and proceeds from well-con- 
sidered definite principles, by which the rise, 
progress, contrast, and perfection of different 


artists or schools is carefully developed. The 
defect, too, consequent upon following various au- 
thorities, of indifferently adopting or opposing 
their decisions — now exalting the romantic, then 
the classic ; at one place admiring the feeling of 
early Christian Art, at another reprobating the 
revival of Grecian influence — is also avoided, while 
the moral individuality and responsibility which 
the author assumes in his decisions, assists and 
guides the reader in the formation of his own. 
There are works not directly original as re- 
gards matter, which yet possess the character 
of originality from their mode of arrangement : 
this is one. Dr. Kugler has spared no pains 
to compress an extensive scheme within narrow 
limits ; and Mr. Eastlake’s valuable notes, by the 
extent and variety of his attainments, his perfect 
mastery of the subject, and graceful mode of 
communication, have given a value, and imparted 
an additional interest to the work, which will be 
at once admitted, both by the German and English 
reader. Nor is it with less pleasure, we notice 
that the translation is by a 44 Lady.” It is 
exact, and neither laboured nor constrained ; 
unlike some recent works, which appear to have 
been 44 done out ,} of obscure German into broken 
English. The difficulties of a foreign language 
have been surmounted by the translator, and 
without detriment to the construction of 
her owu. An eminent living author has said, 
44 Among men of sense and liberal politeness, a 
woman who has successfully cultivated her mind, 
without diminishing the gentleness and propriety 
of her manners, is always sure to meet with an at- 
tention and respect bordering upon enthusiasm.” 
When we review the names of those by 
whom our recent literature has been most graced, 
can we feel otherwise than proud, to notice 
those of Mrs. Somerville, Mrs. Marcet, and 
Mrs. S. C. Hall? To that of Mrs. Austin, 
who has added so much to our knowledge 
of German literature, the lady who has prepared 
this English version of Dr. Kugler’s work, may in 
justice unite her own. Let no man who wishes to 
attain eminence, consider that the honours of so- 
ciety are its free gift ; fame, or present and future 
esteem, the natural consequence of casual ex- 
ertion. He who addresses a multitude, addresses 
a multitude oppressed with care, or gratified with 
the pursuits of avarice and ambition. No man is 
willing to admit a superiority that he does not 
feel ; but each is ready to censure the excellence 
he cannot emulate, and to deride that superiority 
which is not familiar to his imagination, or which 
is opposed to his pursuits. The vain have no en- 
joyment but in the reflective spirit of their vanity ; 
the timid and the ignorant censure or applaud 
from fear ; the great and rich from condescension; 
nor is it till genius has mastered opinion, that the 
majority of littleness swells the ovation offered by 
the hitherto silent minority of intellectual power. 
Therefore, we say to the artist, study : and strive, 
from the knowledge of the past, and by the obser- 
vation of daily life, to obtain that success which 
may secure the applause of your own time, and 
transmit your claims with justice to posterity. 

S. R. H. 


THE BRITISH INSTITUTION. 

The Exhibition— 1842.* 

[We resume our notice of this Exhibition; 
it was with great regret we found ourselves com- 
pelled to divide it ; an evil we must contrive to 
avoid hereafter.] 

No. 178. 4 The Curfew Time,* J. Martin. 

“ The Curfew tolls the knell of parting day. 

The lowing herd winds slowly o’er toe lea. 

The ploughman homeward plods his weary way. 
And leaves the world to darkness and to me.” 

The above and some following verses of 44 Gray’s 
Elegy” furnish the subject of this admirable pic- 
ture. The effect is a favourite one of Mr. Martin’s, 
a shadowed ground cutting a light sky; and his 
well known manner prevails as markedly through- 
out the whole as in any of his late works. The 
canvass is the usual size he employs — large compared 
with the works amid which it hangs. From the 
near shadows the eye is carried down a valley, the 
opposite and distant sides of which are lighted up 
by the faint rays of the declining sun. In the dusky 

* Continued from page 60. 


hollows are seen the 44 lowing herd,’ and on the 
right of the picture are the 44 ivy-mantled tower,” 
44 the rugged elms,” and some other of the inci- 
dental objects of the poem. This is a sublime com- 
position ; we cannot condemn it for the mere rea- 
son that we are familiar with Mr. Martin’s style of 
Art, and that we have been for years accustomed 
to look annually for his productions, and have not 
been disappointed. In it he is constant to him- 
self— we wish he had been less so here ; for the 
same materials of illustration are not at once ap- 
plicable to Gray’s poetry and a scriptual text. To 
have painted 4 The Curfew Time’ with truth, Mr. 
Martin must have descended— he must have painted 
a landscape essentially English. The sentiment, 
however, of the poetry is there in all its spell-like 
force, whether the scene be of our own or of any 
other land. It is impossible to look upon this 
work without conviction that the painter is a man 
of genius ; he may have subjected himself to the 
charge of mannerism, as all great men do, where 
the thoughts, and feelings, and observations run 
commonly through one channel ; but his concep- 
tions are always magnificent ; 44 his soul is steeped 
in poetry ;” nothing mean, or even common-place, 
finds its way into nil mind; and if, occasionally, 
he scorns the thraldrom of 44 the schools,” and 
dares to think for himself, the chances are in his 
favour, not alone with the mus of mankind, but 
with the critic — in the end. He may startle us by 
his departure from established rules ; yet the Arts 
are not, like the law, governed by precedents. 
But in this work he has kept more than usually 
his imagination within fixed bounds; and as a 
production of Art it will bear a severe scrutiny. 
Perhaps it is not too much to say, there is no liv- 
ing painter who could have produced so perfect a 
back- ground to a picture — a back-ground by no 
means unimportant. The outlines of the moun- 
tains, and the delicate tints upon them, are as near 
perfection as they can be. 

No. 199. 4 Pere la Chaise, Paris,’ F. Nash. A 
remarkably interesting copy of a singularly inte- 
resting scene, long without its parallel in Europe. 
Every object within the artist’s ken has been mi- 
nutely noted— too minutely, indeed— for the lavish 
introduction of the poppies in the fore-ground in- 
jures the effect of the picture. 

No. 200. 4 Study of Two Heads, intended for 
Lear and Cordelia,' T. Uwins, R.A. We have 
here the work of a master — a grand conception of 
the reality. How powerfully the accomplished 
artist has contrasted the effect of death upon the 
countenance of Cordelia, with the agonizing return 
to consciousness expressed in the features of the 
old, afflicted King 1 

No. 201. 4 Raffaelle’ s Madonna della Ledia, Flo- 
rence — an Effect,’ Marshall Claxton. A lady 
is copying the 4 Madonna della Ledia,’ which is in 
the Pitti Palace at Florence. The fair copyist is 
painted in shade, and is thrown out in strong relief 
oy a powerful light upon the picture she is working 
from. It is a fine and very effective example of 
colour, and manifests great improvement in the 
artist. 

No. 206. 4 The Landing of Jeannie Deans at 
Roseneath,’ A. Johnston. A work of mnch 
ability, but scarcely sufficient to sustain the repu- 
tation the artist has acquired by his sweet tran- 
scripts of rustic life and character. The aged 
father and daughter are conceived and pictured 
with much force ; but the portrait of the pastor ia 
poor and mean. The colouring is thin and crude ; 
it seems, indeed, as if the painter has scarcely yet 
sufficient vigour to cope with a subject of size. 

No. 208. 4 Scene in Windsor Forest,’ J. Wil- 
son, jun. — Few better landscapes have been pro- 
duced in modern times. We have long appre- 
ciated the great capabilities of the young painter ; 
but feared he was in danger of contracting habit! 
of 44 prettiness.” This, however, is a bold and 
masculine production; making it manifest that 
the artist uses his pencil with a consciousness oi 
power. Although the trees are admirably painted 
yet the main feature is a gloomy cart track em- 
bowered in the depths of the forest. Never car 
colour be applied more successfully than it hsi 
been in giving air to the shadowy part of this work 
The pencilling of the foliage is solid and free, ant 
the picture is altogether a fine specimen of a styi* 
of Art in which the English school excels al 
others. 

No. 210. 4 Slave Merchants,’ Cokb Smyth 
— A brilliant sketch, for it is little more ; the pro 


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THE ART-UNION. 


[April, 


duction of an atisfc with whose name we are not 
familiar ; we cannot doubt that his capabilities are 
great, and bid him, at once, exert his powers 
upon some grander subject. The picture is small ; 
a sound and effective example of colour ; and ma- 
nifesting no ordinary skill in pourtraying charac- 
ter. The painter will 44 come out” in greater 
strength when he again makes his appearance — or 
we shall eschew prophecy. 

No. 212. 1 Millbank/ E. Williams, Sen. A 
fine effect of moonlight ; very cleverly painted. 

No. 213. 4 Luncheon Time/ T. F. Marshall. 
If we may judge of this picture — for it is sadly 
placed— it possesses much merit. A ploughman is 
resting beside his team ; his wife and dog sitting 
near : the colouring appears slight and thin, but 
the composition is, we think, venr natural and true. 

No. 217. 4 An Extract from Nature/ R. Roth- 
well. So Mr. Rothwell christens as veritable a 
Nora Criena, as ever brushed the dew from the 
shamrock sod on a May morning. The portrait 
is exceedingly beautiful ; so full of animation that 
one may almost hear her merry laugh. It is, 
indeed, a fine conception of character ; every part 
is in harmony ; the eyes absolutely sparkle ; and 
the raven locks, that float over her shoulders, 
seem keeping time to the motions of the buoyant 
figure. As a work of Art, Mr. Rothwell has never 
surpassed it. It is singular that he should have 
committed the error of adorning with 44 glittering 
gold and jewels rare/ 1 so thorough a production 
of wild Nature. The necklace and the earrings 
should have been far away. He may, perhaps, 
have found the original in sunny Italy ; and will 
thus account for a singular departure from truth — 
but 44 le vrai8 n’est pas toujours le vraisemblable;” 
she is far more Irish than Italian ; we can swear 
to having met her among the mountains of Kerry ; 
with no other adornments than those with which 
nature so bountifully endowed her. 

No. 218. 4 Scene from King John,' E. M. 
W ard. A most capital picture of character ; the 
work of an artist or high ability. The smith is 
44 letting his iron on the anvil cool,” while he stands 
44 with open mouth, swallowing the tailor’s news,” 
and while a group of eager and anxious listeners 
thrust themselves half through the latticed window. 
The expression in each countenance is admirable ; 
exhibiting the rare skill, judgment, and observation 
of the painter; though all are bent upon a like 
purpose, there is great variety in the features of all. 
It is, indeed, a veiy masterly work, the production 
of a strong and rightly directed mind, and mani- 
festing a complete acquaintance with the capabili- 
ties of Art in telling a story. 

No. 220. 4 A Welsh Style/ P. F. Poole. A 
most delicious work ; one of the sweetest compo- 
sitions we have ever seen ; and one that we could 
look upon again and again with increased enjoy- 
ment. A little toddling child has crawled to tne 
top of a stile, and dares not venture to come 
down ; her sister, however, is at hand to aid her. 
The idea is a very simple one, as simple as nature 
itself ; but it has been happily worked out, and 
must tell with all who can appreciate truth. The 
tone of the painting is also equally in keeping 
with reality. There are few pictures in the exhi- 
bition we more covet. 

No. 228. 4 The Contrast/ C. Stonhousx. This 
work was exhibited at the Royal Academy. It is 
not a good one, either in reference to subject or 
execution. 

No. 229. 4 The stolen interview of Charles I., 
when Prince of Wales, with the Infanta of 
Spain/ F. Stone. With this also we are already 
familiar; but Mr. Stone has evidently worked 
upon it — and to advantage — since its exhibition 
in the Royal Academy. It is an admirable pic- 
ture, highly wrought, and in all respects credita- 
ble to the accomplished artist. 

No. 233. 4 Aspiration/ Gambardella. We 


No. 242. 4 Tasso’s Villa Sorrento/ G. E. 
Hsring. In the exhibition of the last year was a 
picture altogether so similar to this, that this 
appears to be a companion to it. The Villa is 
upon the right of the view, and is painted in the 
bright sun-light tones of David Roberts. Below 
reposes the blue and tranquil sea over-canopied by 
the vivid azure of the daylight Italian sky ; the 
whole forming a sunnv repose, made out with the 
finest apprehension of the beauties of the land in 
which the scene lies. The artist possesses great 
power in depicting the graceful and the beautiful ; 
he has been a close observer of nature ; but in- 
variably selects with judgment the more attrac- 
tive passages from her full and fair volume. 

No. 245. 4 Drovers Seeking their Sheep after a 
Storm/ T. Sidney Cooper. This is a work of 
some size, and of a more ambitious character than 
the cabinet 44 bits,” of which the artist is a large 
contributor. We cannot like it as well; the dog 
and the sheep are too similar in tone with the 
rocks and the water. 

No. 248. 4 A Pilot Going on Board/ J. Wil- 
son. The canvass of this picture is heaving under 
the rising squall, and we look far into the depths 
of the green waves upon which the heavy craft is 
riding. The pilot is just in time, for the horizon 
is black with the coming storm. Every part of 
this picture is beautifully executed. I 

No. 254. 4 Peasant Girls of the Abruzzi/ F. Y. 
Hurlststone. Containing some good work, but 
of a 44 muddy” character, as if the picture wanted 
cleaning ; and greatly opposed to our notions of 
the clear atmosphere of the 44 sunny clime.” 

No. 255. 4 A Serenade/ D. Maclise, R.A. 

44 1 send my heart up to thee — all my heart. 

In this ray singing ! 

For the stars help, and the sea bears part ; 

The veiy night is clinging 
Closer to Yenice-streets to leave one space 
Above me, whence thy face 
May light my joyous heart to thee, its dwelling 
place.” 


The scene of the story, as intimated in the poetry, 
is Venice. A cavalier has ascended, by means oi a 
rope-ladder from the canal below, to almost within 


valuable hints to some of our English painters. It 
ia pleasant to find the contribution of Signor 
Gambardella favourably placed. His work is 
sound and good ; the flesh-tints are remarkably 
true to nature ; and the picture manifests rightly 
directed study and matured thought. It is indeed 
an effort of high order as regards execution ; but 
the artist has committed the not unfrequent 
blunder of placing a more than half nude woman in 
the open air, and as it seems, in the midst of a 
desert — a needless and useless departure from lact. 


* , ' , ” » w OiUlUBb w 1WU1U 

whispering distance of his lady’s bower. He is 
seated upon a stone balustrade, and the object of 
his devotions is looking down upon him from 
within the shadow of her balcony. HU back is, 
unaccountably, turned towards her ; but the dia- 
tinguUhed artist is original in the position of his 
figures generally. The expression given to the 
countenance of the singer carries us beyond the 
mere serenade ; he is a sonnetteering galliard, who 
will sing the same vows to many other maidens 
before he sleeps ; his looks bespeak the insincerity 
of his heart. This picture is admirable in com- 
position ; in colouring, it is less so. As a subject, 
he has selected many better ; but in all he does a 
genius of the highest order is observable through • 
out. In almost any other hands thU matenal, 
thus treated, would have been a failure. We have 
quoted the passage pictured, less to justify the 
somewhat fantastic air and character of the cava- 
lier, than as an example of exceedingly rich and 
graceful versification from the pen of a poet, 
kindred to Maclise in imagination and mind. 

No. 259. 4 Going to the Hay-field/ J. N. 
Rhodes. A work of great merit in parts, though 
defective as a whole. The tree is unreal, and the 
sky far too blue; the foreground, however, U 
boldly and cleverly painted, and the boy excel- 
lently put in. 

No. 260. 4 Broad stairs Pier — Morning/ C. R. 
Stanley. A wooden jetty, and one or two small 
vessels, with a view of the cliffs towards Rams- 
gate, are the main objects in this picture ; but it 
affords an example or the pleasing effect of the 
simplest objects when judiciously thrown toge- 
ther and well painted. The water is rather opaque. 
We cannot conceive that the sun could commu- 
nicate any appearance of this kind. 

No. 266. 4 A Study from Nature/ E. Grim- 
stone. The head of a hound, painted with re- 
markable force and vigour. 

! Oberwesel on the Rhine, with Cas- 
tle of Schonberg/ H. Gritten, jun. A landscape 
of n right good order ; and sufficient to sustain the 
rising fame of the young painter. 

No. 270. 4 The Marquis of Saluzzo and Gri- 
selda/ W. Carpenter, jun. A picture of safe 
promise ; and will justify hopes of the artist’s 
future career. The portrait of the Griselda is very 


sweetly conceived ; that of the Marquis is liable 
to the charge of affectation. 

No. 275. 4 A Neapolitan Girl/ J. Inskiff. 
She is by no means a beauty, but we have her ms 
she is painted, and the manner in which she is 
presented to us merits attention. This picture is 
in the usual style of its author, a style modified 
from those of Rembrandt, and all after him, down 
to Reynolds, who wrought with a free brush and a 
flowing palette. This head, and most others of 
Mr. Inskipp’s, seem to be painted at two sittings, 
receiving afterwards, a slight glaze, which set- 
tles in the shrinkings of the surface. Without 
touching upon the charming sentiment of the 
heads generally of this artist, we cannot, with 
regard to his method of working, pay him a higher 
compliment than to say, that his flesh looks as if 
it would yield to the pressure of the finger. There 
are few more perfect examples of colour to be 
found in the whole range of modern Art, than we 
find in this exquisite little bit. It is a specimen of 
the master that all will covet. 

No. 278. 4 Alpine Sportsmen/ also by Mr. In- 
skipp. Is also an admirable work, though very 
different in style and character. Amazingly bold 
and free ; manifesting high power in dealing with 
the materials which the art supplies. 

No. 276. 4 A Landscape/ H. Jutsum. 

44 A hidden brook 
In the leafy month of June.” 

A nook of the greenwood overhung with redundant 
foliage, which may have just burst from the bud ; 
but it frets the eye, .not being supported by ap- 
proximating degrees of tone. This little work is 
painted with a fine feeling; yet it bears marks of the 
timidity of a young artist. It may not, however, 
be the worse for that. Mr. Jutsum has a pure 
and refined feeling for the beauties of nature ; be 
will, ere long, rank foremost among our land- 
scape painters ; power exists in his mind and hand 
— let him give it full sway. 

No. 277. 4 Hoar Frost/ J. B. Pyne. A good 
and sound work; though not of as pleasant a 
character as the excellent painter usually selects. 
He has pictured complete winter ; and in taking 
such a subject has at least proved his ability to 
copy nature in any aspects she presents. 

south room. 

No. 281. 4 A Buccaneer’s Daughter Releasing a 
Prisoner/ Mrs. McIan. The production of a 
finely toned mind ; of a lady who has gone far to 
establish the intellectual equality of the sexes. 
Her works are always of a high order, both in con- 
ception and execution ; a considerable knowledge 
of Art is brought advantageously to bear upon 
imagination and keen perception of character. 
Moreover, she goes on improving ; her latest pic- 
ture is invariably an advance beyond its predeces- 
sor ; and it is reasonable to anticipate that she 
will, ere long, occupy a very prominent profes- 
sional station. She does so, indeed, even now ; 
for in the manner in which she treats her subjects 
she gives the spectator always materials for 
thought ; and while they satisfy a present exami- 
nation they leave matter for memory. We may 
here, perhaps, object to a little too much of 
dramatic effect ; but she has given to her story 
great interest — rousing our sympathies and anxie- 
ties ; and this, alter all, is the great triumph of the 
painter. 

No. 282. 4 The Ballad/ H. J. Townsend. 
An excellently painted and finely disposed picture ; 
somewhat too scattered in colour, it may be, but 
giving ample evidence of large ability. The cha- 
racters of the two village maidens are well pre- 
served ; and great interest is given to the subject. 
The accessaries are all skilfully introduced : and 
every part of the work is carefully finished. 

No. 307. 4 A Monk reading to the Brotherhood/ 
T. W. Mackay. The brethren are not seen ; 
the work is, therefore, confined to one figure ia 
the monastic habit, before which is a desk sup- 
porting the book which he is reading. There u, 
as it may be supposed, but little colour in the 
picture ; but the head, in its painting and relief, 
has been carefully studied, and with a most suc- 
cessful result. The picture is placed somewhat 
high. 

No. 308. 4 Scene in the Highlands — Morning,' 
(figures by T. M. Joy), A. Montague. The fore- 
ground and figures are richly painted, and being 
in shadow, throw off, with the best effect, the dis- 
tant bills and crags which are made out with the 


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THE ART-UNION 


77 


grey and tender tones communicated to remote 
objects by the light of the san, subdued by the 
mist of the morning. 

No. 319. 4 The C&rapagna of Rome, with the 
Ruins of the Aaueduct,' T. C. Hofland. A 
rest expanse of the plain lies under the eye of the 
spectator. The aqueduct is in shadow in the 
middle distance, beyond which objects graduate, 
until they are lost in the haze of the remotest 
distances. The picture is small, but clearly and 
firmly painted. 

No. 324. * Spencer's Faerie Queen, containing 
Portraits of Queen Elizabeth and her Court,' F. 
Howard. There is in this picture much to 
praise ; the subject is a bold one ; and the choice 
of it is creditable to the artist. It is a gratifying 
departure from the beaten track into a path, more 
difficult no doubt, but far more worthy. The por- 
traits of the great men of the Court of Elizabeth 
are all given — and evidently after continual and la- 
boured study of the best authorities ; we have all 
the immortal minds of the most glorious era in 
British history ; and may recognize each, in a mo- 
ment ; for the countenance of each has been made 
familiar to us. Mr. Howard conveys the idea that 
the 4 Faerie Queen' was, in reality, an allegory, in 
which were introduced the several famous men 
who made the Court of Elizabeth a marvel to all ; 
a happy notion, happily renewed. 

No. 327. 4 Sketch for a Picture of the Good 
Samaritan/ W. J. Muller. A brilliant and 
very effective example of colour. 

No. 330. 4 Fresh Breeze — Dutch Pilot Boat/ R. 
Jump. The sea in this little picture is forcibly 
painted, and the effect of wind tells in every part 
of the composition. 

No. 339. 4 Mother and Child,' R. S. Lauder. 
Scarcely an improvement for the artist, who is of 
established fame ; the colours are too prominent 
and glaring, and the reflection in the glass much 
too strong. 

No. 340. 4 Highlander's Bothie/ C. Hancock. 
An exceedingly clever picture, of a striking and 
interesting subject ; painted with much skill, and 
worthy of a better place. 

No. 341. 4 Riposo Italiano/ J. Severn. We 
have seen better pictures than this by an artist 
to whose high capabilities we have heretofore en- 
deavoured to render justice. 

No. 351. 4 Christ in the Tempest/ G. W. But- 
land. This, although by no means a perfect 
work, is one of no ordinary merit ; and amply de- 
serves a word of praise for the boldness of the 
design, and the manner in which the painter 
has overcome great difficulties. Its tone is 
sadly injured by that of the oak frame in which 
It is enclosed, which fails to harmonize with 
the colour; and gives to it, indeed, a crude- 
ness and hardness which it would not possess 
if seen under more advantageous circumstances. 
The 44 storm on the lake'* is admirably given ; the 
waves boiling and wrathful, and the other indi- 
cations of the tempest, afford proofs of no ordinary 
power in dealing with matter not easily made sub- 
servient to the artist's purpose. We like the 
boldness of the attempt; the poetic feeling that 
suggested it: and if not entirely successful, the 
painter has produced a work that does him much 
credit. 

No. 359. 4 Ballast Boat on the Texel,' J. Zeit- 
ter. A simple composition, consisting of the 
boat and a few figures, which are perhaps some- 
what too sketchily put in ; the effect, however, 
compensates for this in some degree. 

No. 362. 4 Cattle and Figures — Autumnal 
Evening/ W. Shaver. A common but always 
agreeable effect ; a group in the foreground painted 
upon a fading distance, and a clear and airy sky. 

No. 371. 4 England's Pride/ W. Kidd. A 
capital bit of character ; a couple of maimed pen- 
sioners of Chelsea. 

No. 374. 4 Interior of the Keep, Richmond 
Castle,' W. Fowler. An excellent landscape, 
sound and true. 

No. 378. 4 Scene on the Coast of Brittany/ T. 
Darby. The sea-shore with a low horizon, over 
which hangs the sun, that has, with its mantle of 
light, enveloped the entire extent of the view. 

No. 380. 4 The Slave Market, Cairo/ W. J. 
Muller. — A work of great ability; and, we 
have no doubt, an accurate copy of a painful 
and revolting scene. 

No. 386. 4 Samson bursting his Bonds,' H. Lk 
Jeune. — This picture obtained the honorary 


medal of the Royal Academy; it undoubtedly 
bears too much evidence of being an academical 
study ; and therefore, perhaps, its public exhibi- 
tion is injudicious. Character has been sacrificed 
to the painting of a muscular figure. This would 
have been a story for Michael Angelo to have told ; 
and none less than the most accomplished master 
of expression should have tempted its difficulties. 
Of such a subject no model can supply the essen- 
tial force ; for no man could dramatize the part of 
Samson during the number of hours necessary to 
paint the figure. Something more is necessary 
than an expression of alarm at the words— 44 Sam- 
son, the Philistines be upon thee 1" — irresistible 
power should have been seen in every part of the 
body ; but the artist has copied too faithfully the 
fatigued position of his model. It is the highest 
achievement of Art to catch and express con- 
sistently a moment of paroxysm. We regret that 
Mr. Le Jeune did not exhibit some less ambitious 
work ; for he U able to take a high place in any 
exhibition. We have seen, elsewhere, productions 
of his that show genius of the rarest and best 
order ; and judging from these we watch his ca- 
reer with earnest hope and confident expectation. 

No. 392. 4 Coast Scene/ H. Bright. A white 
cloud, a cliff, and a sidelong glimpse of the sea, 
wrought into a beautiful and highly effective little 
picture, which seems to have occupied altogether 
scarcely two hours in painting. 

No. 395. By the same. Is of equal beauty, but 
of another character. 

No. 404. 4 The Bay of Naples,' G. E. Hiring. 
Another admirable transcript of a sweet scene of 
Italy, by an artist who is entitled to the highest 
praise. The point of view is judicously chosen ; 
the solitary figure in the foreground happily con- 
trasts with the delicately-pictured distance, in 
which the noble bay is seen outspread, with the 
mysterious mountain towering above it. 

No. 405. 4 The Duke promises Sancho the Go- 
vernment; of an Island — Don Quixote/ J. Gil- 
bert. A work of very high merit ; one of the best 
productions in the gallery. It is marked by bold- 
ness of tone and vigour of execution, as well as by 
accurate and judicious development of the cha- 
racters pourtrayed. The figure of the duchess is 
very undignified ; but this may be the artist's 
reading of the part ; and it is not opposed to the 
intention of the author, although unpleasing in a 
picture. Mr. Gilbert exhibits also a scene from 
4 Tristram Shandy/ No. 437. The two figures, 
Corporal Trim and 44 My Uncle Toby," are accom- 
panied, in the way of accessaries, by the bare ne- 
cessities of the humblest condition — men even of 
the simplest habits would be impatient of such 
treatment— but the artist's motive is a worthy 
one ; he is resolved to be tried by the expression 
of his figures. 44 His honour" is seated at a small 
table, while the Corporal is erect, pointing to a 
map of Dunkirk on the wall — the latter is language 
itself ; and his raised left arm puts the wall of the 
room in its place, without the aid of any fortuitous 
shadow. 

No. 412. 4 On the River Tamar, Devonshire,' 
F. C. Lewis. A picture that artists will like, 
and which some artists will do well to study ; but 
public appreciation it cannot receive. It is sin- 
gularly uninviting ; yet, looked closely into, it ex- 
hibits a thorough acquaintance with Art. 

No. 416. 4 Scene from the Sentimental Journey/ 
W. P. Frith. We have for a long time marked 
the onward and upward progress of this young 
artist ; and, from tne commencement, with a full 
conviction that he was destined to achieve the 
greatness at which he was aiming. It has been 
our good fortune to have cheered him, when cir- 
cumstances appeared — as they do now — unpro- 
pitious ; for by the 44 heedlessness" of the hangers 
at the Institution, his picture is placed where it 
will inevitably escape the notice of all who do not 
already know sufficient of his abilities, to feel as- 
sured that his contribution must possess merit 
sufficient to have demanded for it the post of 
honour in the gallery. Fair play would have made 
him a candidate for one of the prizes instead of 
the dark nook to which he has been condemned. 
A time will come — and that as surely as we now 
write the sentence — when he will obtain the most 
distinguished station in any collection of the 
works of British artists. His present pic- 
ture represents the scene so often pictured, 
where 44 the sentimental traveller" feels the pulse 
of the pretty French modiiie , and receives the 

Digitized by 


gracious acknowledgments of the husband for the 
honour conferred upon him. It is beautifully 
conceived; the countenances of the group are 
perfect in character and expression; it is elabo- 
rately finished, and yet in a free style : as a whole 
it may vie with any production of our younger 
school of Art. 

No. 420. 4 The Nile, with the Village of Beni 
Hassan in the distance, looking towards Cairo/ 
W. J. Muller. . In this view the river is seen 
from a cliff, rising high above its waters. Its 
winding stream diminishes to a silver thread in 
the distance, and is at length lost in the flood of 
light shed by the sun upon the horizon. The dis- 
tant pyramids bespeak the land ; but to stamp it 
more strongly, an Arab tent occupies the fore- 

5 round with a few figures; the 44 ship of the 
esert," the camel and a feathery palm telling 
forcibly against the palpable ether. This is a 
highly-finished and valuable work, and presents a 
striking contrast to the Oriental street and bazaar 
scenery by the same hand, the figures in which 
seem, from the decision of manner in their treat- 
ment, to live and move. 

No. 421. ‘The Leith Steamer off Purfleet,' J. 
Tennant. A clever picture ; but the fire that 
issues from the chimney of the steamer is far too 
great, and gives an unnatural tone to the whole 
subject. 

No. 426. 4 Moses defending the Daughters of 
Jethro from the Shepherds/ Marshall Clay- 
ton. An ambitious work, and in many respects 
a successful one ; containing parts that are ad- 
mirably drawn and coloured, and manifesting 
right feeling and sound judgment. 

No. 427. ‘The Cottage Door/ J. Linnell. 
A beautiful copy of English domestic life ; very 
touching in character, and painted with great 
skill . The subject, however, is ill suited to the 
size of the canvass ; the picture seems as if it were 
the fragment of a larger one. 

No. 428. 4 America dei Vespucci/ J. Par- 
tridge. A striking likeness of a lady whose life 
is a romance. 

No. 430. 4 Scene on the Coast of Yorkshire/ 
A. Clint. A landscape of the very highest 
merit, which, taken altogether, may be ranked 
as in value the second, or at least the third, in 
the collection. It is a true and accurate copy of 
nature ; highly wrought, but without the smallest 
token of restraint. This artist, also, will ere long 
establish his right to 44 go up higher." 

No. 435. 4 Effie Deans in the Prison/ T. 
Smart. A fine conception of a leading part in 
one of the most exciting of Scott's dramas ; we 
have never seen it more completely realized. The 
drawing is good ; and the sober tone of colour is 
in admirable keeping with the subject. 

No. 436. 4 The Unrelenting Lord,' J. R. Her- 
bert, A.R.A. This is a noble work ; a work of 
the highest class of Art, and worthv the reputa- 
tion or the accomplished painter. 'The story is a 
painful one : the 44 lord" is giving the signal for the 
execution of the lady's paramour ; and the flash- 
ing blade is seen in the distance in the act of de- 
scending upon the neck of the victim. It is a 
tragedy on canvass, and opens a mine to the 
imagination. 

The Sculpture, as usual, is 44 made nothing of " 
here ; yet this year three or four works have been 
sent, which, elsewhere, would have attracted 
marked attention. 4 A Boy (in the south room) 
playing at Marbles' — his 44 last stake" — is a noble 
and beautiful statue ; satisfactory to the anatomist, 
and most valuable to the lover of Art. It is the 
work of Mr. Carew, an artist of the rarest power. 
Above the steps, as the visitor enters, is a work of 
still higher merit by the same great master — 4 The 
Adoration of the Magi/ a small model ; the cen- 
tre of which is a Madonna and child, which is alto 
exhibited, finished in marble. It is a fine effort 
of mind and hand; a glorious conception, exe- 
cuted with almost perfect skill. A small statue in 
marble, by W. C. Marshall, 4 Rebekah at the 
Well/ demands a word of warm approval. It is a 
graceful and very elegant production, and of a size 
to render it a desirable acquisition to those who 
have neither large houses nor large fortunes, but 
who have the taste to prefer original creations to 
inferior copies. 


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78 


THE ART-UNION. 


[April, 


THE ARTS IN CONTINENTAL STATES. 

ITALY. — Rome. — A tomb has been opened in 
the neighbourhood of Chiusi which contains two 
sarcophagi of Grecian marble, adorned with paint- 
ing and rich gilding. This discovery has excited 
much interest, as, hitherto, all the Etruscan coffi us 
that have been found, are either of burnt clay, 
travertine, or alabaster. 

Painting. — P. Williams. — Universal admira- 
tion is attracted to the studio of the English artist, 
Penry Williams, on account of a picture which he 
has painted, and which is now to be seen there. 
The subject is a woman bringing offerings, on her 
recovery, to a miraculous image of the Virgin. 
The principal figure is riding on an ass surrounded 
by peasant men and women. The landscape ex- 
hibits a mountainous scene. The picture, it is 
said, is painted for the Marquis of Westminster, 
and destined for his gallery in London. 

Overt eck. — The celebrated German artist, Over- 
beck, has just completed here the cartoon for a 
large picture of 4 The Entombment ,' intended for a 
church in his native town, Lubeck ; it is full of 
originality, is simple in composition, and shows 
much just thought. The cartoon, it is said, will be 

S laced in the collection of Count Raczinski, in 
terlin. 

Rome. — Sculpture. — Thorwaldsen. — The great 
Thorwaldsen has now finished the six bas-reliefs 
for the King of W urtemberg. Four were ex- 
hibited last year, the other two are, 4 a Shepherd 
who finds the God of Love in a Bird's nest,' and 
* Love complaining k to Venus that he has been 
stung by a Bee concealed in a Rose.' The models 
for the statues of two apostles, destined for the 
metropolitan church of Copenhagen, are com- 
pleted. 

Bissen. — The Danish sculptor, Bissen, has mo- 
delled a 4 Venus adorning her Hair,' a ‘ Love 
sharpening his Arrows on a Stone,' also other 
works, which show a fine fancy and good execu- 
tion. He has executed eighteen statues by order 
of the Danish government — a government which 
does much for arts and artists. 

Sohn. — A young German artist, named Sohn, 
has discovered a substance, in which he has copied 
some of the best works of Rauch, Swankhaler, and 
Thorwaldsen, and also some antique groups. He 
is now at Paris, and he proposes to model some 
of the groups in the garden of Versailles and the 
Tuileries ; he calls the substance, French Meers- 
chaum. 

Florence. — A New Theatre. — Various Italian 
and foreign artists, among whom is one English- 
man, have presented plans and elevations for a 
magnificent theatre to be built here, and to be 
called 1 Teatro Leopoldo.' It is proposed that the 
theatre should stand alone with spacious arcades 
for the carriages that come and go, so that the 
ladies are guarded from all fear of rain ; before the 
theatre wifi be a large square or 4 piazza.’ On one 
side will be the station of the fire-engines ; on the 
other, a large hall for scene painting, and apart- 
ments for other decorations. In short it is pro- 
posed to be a model-theatre, and when the plan is 
chosen we shall inform our readers. Marble and 
granite will be the materials employed. 

Bologna. — Works on Art. — History qf Archi- 
tecture. — The Marquis Amico Ricci, deservedly 
celebrated as an excellent and correct writer on 
the Fine Arts in many works, especially that on 
Arts and Artists in the 44 Marca of Ancona," has 
commenced a gigantic labour — 44 the History of 
Architecture in Italy." The first volume is now 
printing, and our correspondent assures us it is an 
eminently classical work; which we believe from 
the talent of the author. 

Lives qf Painters . — The venerable Marquis 
Amorini, president of the Academy of Fine Arts, 
continues, unweariedly, his lives oi the Bolognese 
painters. We have now the lives of the five Ca- 
racci. All are written with great care as to the cor- 
rectness of facts; clear, just, and impartial criti- 
cism, and a fine taste in Art, alike honorable to the 
venerable president, and the academy to which he 
belongs. 

In other parts of Italy the following works are 
being published : — 

At Milan, the first Italian edition of Stuart's 
14 Antiquities of Athens." The architect, Alvisetti, 
superintends the work, of which eighteen parts 
are already published. 


At Turin, the Sardinian Consul general, Ba- 
ratta, publishes a large work called 44 The Beau- 
ties of the Bosphorus." The first part, in quarto, 
is already out. 

At Venice, u Fesie Veneziane" with illustra- 
tions by Professor Passini. 

At Florence, the great work by the cavalier, 
Inghirami, on vases, entitled, 44 On the fittile 
Vases," is nearly completed. 

FRANCE. — Paris. — Improvements in Paris. 
— Workmen were employed in the following places, 
at the close of last year, either in new erections, or 
in repairing old buildings. Employed by Govern- 
ment— in the Jardin des Plantes, Polytechnic 
schools, Pantheon, Normal schools, Luxembourg, 
College of France, Palace of the Fine Arts, Palais 
d’Orsay, Church of the Magdalen, Archives of the 
Kingdom, Guardhouse des Celestmes. At the 
expence of the city of Paris — in the Hotel Dieu 
Saint Severin, Saint Etienne du Mont, Saint Sul. 
pice, Hospital for the Blind, Champs Elysees, 
Notre Dame de Lorette, Saint Vincent de Paul, 
Saint Germain l’Auxerrois, La Sainte Chapelle, 
the Hotel de Ville, La Charite, the fountain of 
Moliere, Street of Jervois. At the expense of the 
civil list — the English Museum in the Louvre. 
Duban, the architect of the Palais des Beaux Arts, 
has completed the repairs of the Chateau Dam- 
pierre, in the vale of Chevreuse; and Ingres is 
about to paint the hall of this magnificent building. 
The restoration of La Sainte Chapelle is placed 
under the direction of M. Duban, and the general 
wish seems to be, that the plan adopted should be 
the original one, built in the thirteenth century : 
a tower seventy feet high, like that of the cathe- 
dral of Amiens. 

Monument of Moliere. — The works for this mo- 
nument are about to recommence : it is desirable 
that they should be completed in the course of this 
year, so that the inauguration may take place on 
the 7th of February, 1843, being the hundred and 
seventeenth anniversary since the death of Moliere. 

SAXONY. — Dresden.— Rietschel.— It is not 
long since the masterly chiselof Professor Rietschel 
adorned the principal entrance of our theatre with 
the two intellectual statues of Schiller and Goethe. 
We have now to admire, by the same artist, a 
group which breathes the spirit of Grecian anti- 
quity, and is excellently executed. The figures 
are thirteen, above the size of life, in sandstone ; 
the subject is Orestes pursued by the Eumenider, 
and the moment represented is when in the Areo- 
agas he throws himself before Minerva, imploring 
er aid. 

BOHEMIA.— Prague.— The Tower.— \t is 
with great regret we see preparations making to 
take down the old steeple of the town-house. 
Three years since, when the repairs and new build- 
ings were decided on for the town-house, it was 
determined, as well on account of the beautiful 
and grand style of the building, the old clock-work 
it contains, and the many historical recollections 
attached to it, that the steeple should be pre- 
served. The clearing away, however, of some 
under parts of the building, and other alterations, 
had not been done with sufficient care, and the 
consequence is, this noble old tower has received 
a shock which, as the danger of its fall became 
immediate, has left no choice as to taking it down ; 
wnd with it, from the consequence of the same ac- 
cident, must also be sacrificed various adjacent 
parts of this most interesting old building. 

GERMANY. — Vienna. — Monuments. — Our 
readers are probably aware that at the last great 
music meeting here, it was resolved to erect mo- 
numents to the memories of Haydn, Mozart, 
Beethoven, and Gluck, the four greatest musicians 
Austria has produced. 

Destructive Fire. — The splendid church belong- 
ing to the hospital, erected at the relose of the 
twelfth century, by Otto II., Bishop of Bamberg, 
for the reception of pilgrims travelling to and from 
the Holy Land, was destroyed by fire on the 25th 
and 26th of October last. 

PRUSSIA. — Berlin. — L. Von Cranach . — 
Herr Forstcmann, of Halle, has, in a number of 
the Staats Zeitung , put forward a contradiction 
of a long received tradition, namely, that the fa- 
mily name of Lucas Von Cranach is not Cranach, 
but Sunder or Sonder. Amongst other strong 
evidence, he brings the matriculation book of the 
University of Wittenberg, in which is recorded the 


matriculation of John, the son of him who has 
been hitherto called Lucas Granach, on the 9th of 
October, 1517; it is thus inscribed : 44 Joannes 
Sonder de Wittenbergh , Brander b. dio. propter 
defectum tetatis nondum juravit.” 

Cologne. — The Cathedral. — There can be no 
doubt that the completion of the Cathedral will soon 
be commenced. Building materials are brought, 
foundations are digging, and other preparations 
are made. It is still undecided what stone shall 
be used — whether it shall be brought from the 
quarries of Swabia, or whether a basaltic stone, 
from the volcanic rocks of the Rhine, shall not be 
preferred. The latter is hard to work, but would 
ive an almost imperishable durability to the 
uilding. A great solemnity, it is said, will be 
held to commemorate the commencement of the 
works, which excite much enthusiasm here. The 
month of August is the time named, being also 
that of the great military manoeuvres ; it is said 
the King of Prussia will himself be present, and 
that his invitations will be accepted by the King of 
Bavaria, the King of Wurtemberg, the King of 
Belgium, Prince Albert, and the Duke of Orleans. 

GREECE.— Artistical and Archeological 7Vu- 
vels. — We have not before noticed the travels of 
M. Didron, assisted by Messieurs Cenatole do 
Saint Aldegonde, Emanuel Durand, and Hippo- 
lite Par fait, in the Grecian Continent and the 
Peloponessus, to study, and make drawings of the 
many fine Christian monuments that adorn these 
countries. They passed sometime at the convent 
of St. Luke in Livadia, in that of Megaspilmon in 
Achaia, at Sparta, Corinth, and Salamis. The 
great church of St. Luke is covered with marbles 
from the pavement to the springing of the arches. 
The sanctuary and transept are enriched with 
mosaics, while the arches and arcades are also 
worked in mosaic on a gold ground. It is St. 
Mark’s of Venice, among desolate mountains and 
wild precipices. Megaspilmon is still more rich, 
but less beautiful. Mistra possesses the largest, 
the most beautiful and original churches in 
Greece ; these edifices are half Gothic, half By- 
santine. One would be inclined to say that a 
Frenchman, Pierre de Cbarnolite, who built the 
fortress of Mistra, early in the thirteenth cen- 
tury, was also the founder of these churches; 
in which he wished to temper the oriental 
style, by a mixture of the style of the 
44 ogivalet " cathedrals of France. At Corinth, 
the church, where it is said St. Paul preached, 
is cut in the rock, and has nothing of the eastern 
style — a proof of its high antiquity. At Salamis, 
the great church of the Virgin Phaneromeni is 
painted in fresco, from the pavement to the 
arches ; and these frescoes contain, it is said, in 
all, including busts and medallions, 3500 figures : 
it is the Pantheon of Christian Greece. These 
pictures are perfectly preserved, and remind ns, 
in style, of the statues and paintings in the ca- 
thedral of Chartres. M. de St. Aldegonde has 
taken casts of the inscriptions in marble which 
mark the date of the foundation of the churches 
and monasteries, and the names of the founder, 
and also the Christian inscriptions engraved on 
ancient columns, which are the archives of thu 
church of Mistra — its marble parchments. Hu 
has also taken casts of the chiselled copper doors 
which close the church of Megaspilmon, and of 
the small chiselled silsetes tabernacle, which con- 
tains the image said to be sculptured by St. Luke. 
M. Durand has copied in drawings the mosaics, a 
legend painted in the refectory of Megaspilmon, 
and the 4 Last Judgment,’ which cover the west 
wall of the church of Salamis. M. Parfait has 
taken various elevations at St. Luke and Mistra. 

Constantinople.— A Turkish firman prohi- 
biting an engraving. — A periodical called 44 La 
Revue Orientate, " printed at Paris, has pub- 
lished in one of its numbers an allegorical print 
with the title, 4 La Regeneration de l’Empire Ot- 
toman,' which represented, by symbolical figures, 
the four fundamental principles of the late cele- 
brated firman, which is a species of new consti- 
tution of the Turkish empire. It is well known 
that these four principles are— 1st, Equal civil 
and political rights to the entire population 
2nd, Complete religious freedom ; — 3rd, The se- 
paration of the spiritual and temporal power;— 
4rh, The right of possession granted to foreigners. 
The Sublime Porte has, by an express finnan, 
prohibited this engraving. 

f^r\r\nl c> 



1842 .] 


THE ART- UNION 


79 


ART APPLIED TO MANUFACTURES.* 


NO. II. — DRAWING CLASSES AT EXETKR HALL. 

We have been much gratified by witnessing, at 
Exeter Hall, the commencement of an experiment, 
on a grand and comprehensive scale, for rendering 
linear drawing a part of popular education, as 
music has now become. Tne system adopted by 
the committee of council is that of M. Dupuis, 
which is followed at the Normal School at Ver- 
sailles : thus England is indebted to France for 
haring methodized systems of instruction in two 
of the sister Arts, for the purpose of educating 
the masses — Mr. Butler Williams teaching per- 
spective drawing with the use of the models of M. 
Dupuis, as Mr. John Hullah teaches part-singing 
according to the formulae of M. Wilhem. 

The principles before laid down as the basis for 
a course of instruction are carried into operation 
by the method of M. Dupuis, though in a different 
way : models only are used ; illustrative diagrams 
drawn, by the teacher being merely exhibited to 
exemplify the theory, not to be copied. The 
pupils draw from solid forms wholly, not from 
drawings ; therefore every line they make is the 
result of intelligence, and a test of knowledge. 
Before they begin to delineate, they are made to 
understand what they are about to do, and the 
scientific rule they are taught to exemplify. This 
is, in our opinion, the only sound and true theory 
of elementary training in the science of drawing : 
for with the art this introductory course has 
nothing more to do than exercising the hand ; its 
object is limited to teaching the pupils to see cor- 
rectly the apparent forms of objects, and the seem- 
ing direction of lines, and to know the optical laws 
by which the real forms and actual direction of 
lines appear differently to the eye, according to 
the angle of vision under which they are seen : the 
pupils are not at first required to draw evenly or 
neatly, but only to express intelligibly, by rude 
lines, their comprehension of the rule exemplified 
by the model. To make this clear, let us describe 
the process of the initiatory lessons, as they are 
given by Mr. Butler Williams, at Exeter Hall, to 
three successive classes of adults, sixty or seventy 
in number, two of males and one of females, on 
the evenings of Mondays and Thursdays. The 
pupils are seated at desks ranged in rows, each 
pupil having before him or her a black board, 
with a sponge attached to it and a portcrayon with 
white cnalk : in front of them stands the teacher 
on a platform, haring beside him a stand with 
a sliding top terminating in a ball and socket 
joint, to which is affixed each of the models as 
It is successively required; so that the model 
may be elevated and depressed, and placed in any 
position at pleasure. The used set of models 
includes three kinds : the first consisting of single 
and parallel lines, curves and angles, and outlines 
of simple geometrical figures, in iron wire, about 
the thickness of stair-rods ; the second of similar 
forms in wooden bars, of about an inch and a half 
square, including the frame of a cube, and com- 
binations of curved and straight lines, angles 
and circles ; and the third of solid forms, such as 
the sphere, the ovoid, &c., of a large size, and 
painted white : the whole apparatus is most in- 
geniously designed and Well made. In the introduc- 
tory lessons which the classes at Exeter Hall are 
now receiving — the first having been given on Mon- 
day the 14th of February — only the wire outlines are 
needed ; and they are employed chiefly to illustrate, 
conjointly with diagrams, the rationale of linear 
perspective, as exemplified in the laws of vision. 
They also serve to exercise the eye and hand of the 
pupil in perceiving and delineating the inclination 
of lines. The teacher has, of course, to look 
seriatim at the performance of each pupil, and to 
point out individual errors, explaining the rule 
again if not understood by all : this makes the 
conducting of a drawing-class a troublesome as 
well as an arduous duty ; for, excepting only the 
perpendicular line, every line or shape appears 
differently to each, so that one pupil is no guide 
to another. This, however, ensures a self-de- 
pendence, which, though it may retard progress 
at first, promotes certainty. 

It would be premature to offer an opinion as 
to the ultimate success of M. Dupuis' method : 
its formation on right principles is sufficient to 

* Continued from page 45. 


M llfflH i * 1 - 

li m 










justify its adoption, especially since the Normal 
School of Versailles affords satisfactory evidence 
of its efficiency ; but we have a doubt as to its 
being the best or the most simple and expeditious 
course, and we shall be glad to have this doubt re- 
moved by theresult. Meanwhile, we may be allowed 
to state the objections that present themselves at 
the outset. In the first place, the models mostly 
represent arbitrary forms, that suggest no ideas 
of real objects ; and thus the fancy is not awakened 
sufficiently to relieve the tedium arising from the 
constant repetition of the same forms seen under 
different points of view. The models designed by 
Mr. Deacon are suggestive of a variety of build- 
ings, as is shown in the accompanying sketch, 
which is only a picturesque version of one of many 
combinations, of which the different pieces are 
susceptible. M. Dupuis’ models are susceptible of 
very limited combinations, though the pieces are 
much more numerous than Mr. Deacon’s. In the 
second place, the wire outlines represent nonenti- 
ties ; they are diagrams, useful to comprehend, 
but not so beneficial, to copy, as the same forms 
in a solid shape’: for instance, we saw Mr. Butler 
Williams's class very much at fault in drawing a 
detatched horizontal line foreshortened — and well 
they might be, for it is a very difficult matter for a 
beginner ; but had this line been the edgeofa square 
or other form, the task would have been easier, be- 
cause the purpose and inclination of the line in 
its connexion with olhers would have been more 
evident to the mind. We cannot approve of 
copying representations of outline by itselif ; know- 
ing that it is only the boundary or outer edge 
of solid form, and as such has no separate ex- 
istence, and is only discernible in a plane or 
solid form : there is less objection to using 
wire outlines merely as demonstrations of the 
effect of the angle of vision on the appearance of 
lines ; but we think planes would be preferable, 
because they represent sections or superfices of 
solid form. The difficulty of using plant s in large 
classes, if they are to be viewed geometrically, that 
is, placed directly before the eyes of the pupils, is 
that one plane would only suffice for one or two files 
of delineators : but if drawn perspectively, they 
would, in our opinion, be preferable to outlines, for 
the reasons before stated ; and also because the 
forms would be more distinctly visible. In the in- 
stance before mentioned of the horizontal linefore- 
shortened, some of the class complained that they 
could not see it ; the light was partly the cause of 
this, and the defect therefore remediable in part ; 
but the superior distinctness of an outline defined 
by a broad mass of light reflected from a white 
surface, standing out at a distance from a dark 
background, is unquestionable. Another objection 
to the use of wire outlines to draw from is, that 
the imitation of a cylindrical substance by a single 
line involves a fallacy ; and although the delinea- 
tion is not exact, being employed not as an imita- 
tion of the object, but as a test of knowledge, still 
it is not well for pupils to start with practising a 
false mode of delineation. In delineating a 
plane in geometrical elevation, the definition of 


the outline completes the representation; and 
this, requiring no acquaintance with perspective, 
would be a good introduction for young people who 
have never taken a pencil in hand, and know 
nothing of the science. In the third place, the 
models are numerous, and necessarily costly; 
needlessly so, because they are too many: this 
fault is easily remedied, and must be, if they are 
to be extensively adopted. Our objections are 
not to the system, but to some of its details ; and 
in offering them at this early stage, we are de- 
sirous to call attention to what we consider defects 
in M. Dupuis’ models, with a view to their being 
remedied before manufacturing sets for distri- 
bution. Mr. Butler Williams is not only com- 
petent to decide upon the expediency of any 
alterations, but candid enough to consider any 
suggestions that may be offered. We would recom- 
mend Mr. Deacon to have a set of his models made 
on a large scale, with introductory plane forms for 
young beginners, adapted to large classes. We 
should be glad to see a comparison instituted of 
the effects of his teaching, with that on M. Dupuis' 
plan. From the experience we have had of Mr. 
Deacon’s success, both with young and adult pu- 
pils, we incline m the opinion that his would be 
found quite as efficacious as that of M. Dupuis' 
for training teachers; and more expeditious and 
pleasing for teaching the young, and initiating 
adults m the practice of sketching from nature. 
Let both be tried : there is a field wide enough for 
them and more. Good teachers are wanted ; the 
harvest is plenteous, but the labourers are few. 
We rejoice that the “ committee of council” have 
adopted a plan based upon sound principles ; the 
result, notwithstanding our objections, cannot but 
be favourable to the progress of the Arts, as well 
as beneficial to the individuals who will thus 
learn to use a sense that has comparatively lain 
dormant for want of cultivation. Any rational 
system carried out by Government means, and 
supported by Government influence, must have 
advantages over others ; and in the present case 
there are classes ready formed on the spot : but it 
does not, therefore, follow that it is the only sys- 
tem, or the best ; even if it were, competition is a 
wholesome stimulus to improvement, and will 
tend more effectually to spread .knowledge that 
will be the means of cultivating the study of form. 

Thus far we have treated only of the elementary 
part of teaching drawing ; which is positive 
science, and forms the basis of the superstructure 
of Art. To this point every one may attain ; for 
it is a process dependent upon the understanding, 
requiring but little manual dexterity, and not call- 
ing for much exercise of taste or fancy. The 
student will have gained the power of seeing with 
correctness and intelligence, and of delineating 
distinctly the shape of any object of fixed form 
that he shall first thoroughly be acquainted with : 
for knowledge of the object to be represented is 
essential to accurate delineation. At this point 
the Art of Drawing comes into play ; for to make 
a pleasing and attractive picture of one or more 
objects, requires the exercise of those powers of 


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80 


mind and hand which go to make an artist ; and 
the object of this elementary coarse of instruction 
is not to produce artists — though for this purpose 
it is valuable as ancillary to further progress — but 
to enable every one to perceive and delineate the 
forms of things so as to express ideas of shape, 
which cannot be conveyed to another without 
drawing. In effect, the end of this course of 
linear perspective drawing is to exercise the 
sense of vision in relation to forms, by training 
the mind and hand to understand and delineate 
what the eye perceives. 

M. Dupuis’ models also extend to the study of 
the human figure ; but this branch of the subject, 
and the application of models to picturesque draw- 
ing, requires a separate paper. 

w. s. w. 


WORKS IN PROGRESS. 

Sepulchres of Tarquinia.— The result of the 
labours of the learned archieologist. Byres, on the 
sepulchres of Etruria, is about at length to be pub- 
lished, after having been long supposed to be lost 
to the world. The original prospectus of the work was 
issued in 1767, and the plates were drawn and en- 
graved on the spot by Mr. Norton, under the superin- 
tendence of Mr. Byres, while the paintings were fresh 
and uninjured. The announcement of such a work 
excited the deepest interest wherever it became known, 
among all men of antiquarian taste and knowledge; 
but the deaths of the author and his coadjutor, toge- 
ther with the invasion of Italy by Napoleon, caused 
the work to be lost sight of, and the plates remained 
packed up at Leghorn from 1796 until 1840, when they 
were sent to England. Many of the paintings repre- 
sented in this work have now entirely disappeared; 
hence it acquires an increased interest. Even in 1780, 
M. Agincourt, who was then at Rome, states that they 
were at that time so much faded, that he was indebted 
for drawings and details of those interesting remains 
to Mr. Byres, a Scottish architect, whom a long 
residence in Italy had eminently fitted to treat the 
subject. Lanzi, in his “ Saggio di Lingua Etrusca,” 
says, that “certain of the sepulchres of Tarquinia, 
judiciously selected from the multitudes which are to 
be seen around Corneto, would be given in coloured 
plates, by Mr. Byres.” A very mysterious subject is 
represented in a grotto at Corneto, the painting of 
which Mr. Byres has engraved upon copper, in the 
finest taste. The labours of Mr. Byres were alluded to 
by Winkelman, as also by Italian antiquarians. The 
plates are engraved in line, they ara57 in number; and 
will appear in monthly numbers, accompanied by letter 
press containing all that is known of the sepulchres. 

The Death of Douglas at the Battle of 
Lanosidb.— Painted by C. Landseer, A.R.A. Etched 
by J. G. Murray. Publishing by Mary Parkes, Golden- 
square.— This is a large plate, the subject giving 
abundant scope for admirable grouping, and a display 
of numerous figures, of which the artist has skilfully 
availed himself. The story is found in one of the 
earlier novels of the Waverley series ; placing at the 
disposal of the painter some of the roost striking 
characters that figure in the 11 Monastery ” and the 
“ Abbot.” The battle of Langside crushed the hopes of 
Mary Queen of Scots and her adherents, and in the 
plate before us, she is seen proffering to one of the 
most devoted of her followers, who is dying in her 
cause, all in her power to bestow— consolation and 
acknowledgments. It will be remembered that George 
Douglas, subdued by the fascinations of the Queen, 
facilitated her escape from the castle of Loch-Leven, 
and attached himself to her fortunes. He is in the 
print before us extended on the ground in the agonies 
of death, and even while vision is departing from Ids 
eye, it is yet fixed upon the features of the Queen, who 
is bending over him. The figure is in armour, but the 
head is unhelmed, and the whole is deeply expressive 
of approaching dissolution. Immediately behind the 
Queen are the Abbot Ambrosias, Lady Fleming, and 
Roland Graeme. The figures on the left of the com- 
position are Sir Halbert Glendinning and Adam 
Woodcock, behind whom is a mounted knight, the 
bearer of news from the immediate scene of conflict ; 
Catherine Seaton is in anxious attendance on the 
Queen. Of these, together with a few others, is the 
composition made out ; and they are just sufficiently 
'numerous to give importance to the event without 
dividing the interest. The grouping is highly success- 
ful, and the eye is led to the principal figures without 
any forced effects. The work, which is mezzotinto, is 
marked by many of the best qualities of its style. 


THE ART -UNION. 


Alfred.— Painted by S. A. Hart, R.A. Engraving 
by J. G. Murray. Publishing by Mary Parkes.— This 
when perfected will be an engraving of high preten- 
sion ; much of the work is little advanced beyond the 
outline, but the character, expression, and drawing, 
ably sustain the reputation of Mr. Hart. A beautiful 
simplicity pervades the picture, which consists of only 
three figures— the infant Alfred, the subsequent de- 
liverer of his country ; his mother ; and an aged bard, 
to whose minstrelsy both are listening. We repeat 
our conviction, that this work is in promise altogether 
an effort of a high class. 

Mr. Alexander Hill, the enterprising publisher 
of Edinburgh, announces for publication two works of 
much interest and considerable merit. The first is 
‘Windsor Castle — Summer Evening,’ the painter D. 
O. Hill Esq., (we believe the publisher’s brother) ; a 
production, to the great merit of which we have 
already borne testimony, on the authority of our 
esteemed correspondent in Edinburgh, where the 
picture was exhibited, and where it obtained high and 
extensive fame. The other is a work with which all 
visiters to the Royal Academy are well acquainted; 
for in the exhibition, 1841, it was a very primary 
attraction, not alone for its admirable qualities as 
a production of Art, but for the able and skilful 
treatment of an exceedingly striking and interesting 
subject. Very few, indeed, have forgotten the gratifi- 
cation they received from examining Mr. Duncan’s 
picture of ^Prince Charles Edward (the “ Pretender,” 
as he is called in history) and the Highlandersentering 
Edinburgh after the battle of Preston.’ It is now in 
course of engraving, in line, by Mr. F. Bacon. We are 
compelled to give this mere announcement of the 
intended appearance of the work ; but we shall seek an 
opportunity of devoting to it greater space and 
attention. 

Affghanistan. — A work that will ppssess a strong, 
but melancholy, interest, is announced for early pub- 
lication by Messrs. Graves and Co. It is descriptive of 
the recent operations of the British forces in Affgban- 
istan ; and will consist of views of the most beautiful 
scenery through which the army passed, with figures 
illustrative of memorable events which occurred during 
the campaign, and characteristic of the manners and 
costumes of the natives ; to be drawn on stone by 
Louis Haghc, Esq., of a uniform size with his work on 
Belgium and Germany, from the original and highly- 
finished drawings executed on the spot by James At- 
kinson, Esq., superintending surgeon of the army.of 
the Indus. The volume will consist of twenty-six 
plates, royal folio. 

Haddon Hall. — Another work, to range with the 
series by Stanfield, Prout, Roberts, Haghe, and 
Mailer, is about to appear. It is descriptive of Haddon- 
Hall, Derbyshire, consisting of twenty-six of the most 
beautiful interiors and exteriors of this interesting re- 
main of the olden time. Drawn on the spot, and on 
stone, by Douglas Morison, Esq. It will be published 
by Messrs. Graves and Co. during the present season. 

Windsor Castle. — Messrs. Gandy and Baud’s 
illustrations of this national edifice is announced for 
completion at the end of this month ; and we are in- 
formed that the historical and descriptive letter-press 
will be written by Mr. Britton, who had formerly en- 
gaged to write the account for the late Sir Jeffry 
Wyatville. 

Yorkshire Abbeys.— A very splendid work is pre- 
paring to illustrate the architecture and scenic features 
of these interesting ruins. Mr. Richardson of York 
has made some fine drawings, which are to be litho- 
graphed by Mr. Haghe. 

ARCHITECTURAL MEMS. 

Th* union of the Architectural Society with the 
Royal Institute of Architects, was consummated at 
a closing conversazione in the rooms of the late 
Society, on the 1st of March last, when Mr. Tite 
read a paper on the pyramids of Egypt, and a large 
number of the profession and friends of Art were 
present. Having long advocated this junction, 
and shown how much more might be done for 
architecture by the united efforts of all engaged in 
it ; the saving of expense, and the prevention of 
ill-feeling that would be effected; it is hardly 
necessary to say we hail gladly this event, and 
trust nothing will occur to prevent the realization 
of our anticipations. Strong as the Institute now 
is, and numbering amongst its members all the 
chief professors in England as it does, very much 
may be expected from it : indeed, the future posi- 
tion of architecture in this country is now in its 


[April, 


hands. The election of Mr. Barry into the Royal 
Academy, in the face of his avowed intention of 
remaming a fellow of the Institute, has settled a 
question, too, of some importance to its progress. 

The opu$ magnum of this latter gentleman, the 
new Houses of Parliament, is proceeding very 
satisfactorily, and bids fair to be one of the finest 
pieces of Gothic architecture modern times may 
boast of. The whole of the river front, comprising 
corridors, committee rooms, and offices, is 
brought up to the second story, and the brick 
foundations for the houses themselves are built to 
the ground-level. Over the main windows in the 
river-front are placed the arms of all the various 
Kings of England, one over each, very boldly 
sculptured in one stone about eight or nine feet 
square : on either side of each of these is a panel 
with the sceptre and other insignia. The hundreds 
of masons who are at work m all directions, and 
the carvers in their little straw sheds each engaged 
on his separate task, recal the labours of the old 
free- masons, and a period when the erectioU of 
such a building was a more common occurrence in 
England than it is now. 

In the decoration of Trafalgar- square Mr. 
Barry is also proceeding rapidly : the ground is 
levelled and the terrace wall next the National 
Gallery is fast approaching to completion. As 
to the Nelson column there, the problem appears 
to have been, to do the least possible amount 
of work consistent with the slightest appear- 
ance of progress: and very successful they 
seem to have been in solving it. The builders, it* 
is clear, like wise men, will not go on any faster 
than money be forthcoming, and to this the com- 
mittee, who are avowedly not backed by public 
opinion, do not clearly see their way ; whether or 
not, therefore, it will be ever finished, without the 
interposition of Government, seems a gaeat ques- 
tion. The model of the capital is nearly com- 
pleted ; but a fresh difficulty has arisen as to the 
casting of it in consequence of the death of the 
party to whom it had been entrusted. The 
architect to this sad affair is certainly to be 
pitied. 

The restoration of the Temple Church, although 
many men are at work, has not greatly advanced 
in appearance since our notice of the works in 
December last ; still it is progressing steadily, and 
we may hope satisfactorily. 

At tne New Royal Exchange they are now be- 
ginning in earnest, a solid and excellent foundation 
was long ago put in at an expense of £8124, and a 
cod tract entered into with Mr. Jackson for the 
completion of the building for £124,700. 

Recently several attempts have been made to im- 
prove the character of our shop-fronts, a wide and 
fruitful field for the architect of talent, which as yet 
has been but little worked. An exchange, a se- 
nate-house, and even a church, falls to the lot of the 
general practitioner but seldom, whereas private 
dwelling-houses and shops are matters of constant 
occurrence; they are nevertheless entitled to 
more consideration than is usually given to them ; 
and afford more opportunities for the display of 
ability than are generally made use of. Amongst 
the most recent of the new fronts is that of the 
Lowther Bazaar, and the adjacent house in the 
Strand. The arrangement of the shop itself, and 
the archway filled in with glass, are exceedingly 
effective, and with many of the details highly 
creditable to the architect, Mr. Kendall. The 
adjoining front, however, which is a repetition in 
little, is too much like it or not enough, and pro* 
duces a whole somewhat inharmonious. The way 
to improve it would be to make the house on the 
west side of the bazaar correspond with that 
on the east side : indeed this may be the architect's 
intention. 

To the decoration and improvement of dwell- 
ing-houses we would direct the attention of all, 
whether those who want houses or those who 
build them. Hear what old Sir Henry Wotton 
says on this subject, and so let this note end with 
a text instead of beginning with one, "Every 
man's proper mansion house and home being the 
theatre of his hospitality, thescateof self-fruition, 
the comfortablest part of his owne life, the noblest 
of his sonnqs inheritance, a kinde of private 
princedom, nay, to the possessors thereof, an 
epitome of the whole world, may well deserve by 
these attributes, according to the degree of the 
master, to be decently and delightfully adorned.*' 

: t : l. ; CiO,on|p 

y o 



1842 .] 


EXHIBITION OP THF LOUVRE. 

MODERN WORKS 07 ART. — ARTICLE X. 

Entering an exhibition of modern painting, the 
first impression is cheerfulness and gaiety : the 
scene is brilliant in itself. Before we consider 
details, or think of criticism, it promises gratifica- 
tion to oar curiosity ; we anticipate the pleasure 
of meeting old friends, and we expect to enter, as 
it were, into the history of their thoughts and oc- 
cupations during the past year, in the speaking 
witnesses of them on the walls. But if we think 
with gladness of those whose new works we are 
about to see, we remember also those who will 
never offer us their inventions more. Among these , 
in entering the gallery of the Louvre this year, 
who, acquainted with the progress of painting, 
will not remember M. Buchot, so early lost 
to the art he so much loved, to the friends 
by whom he was so much beloved? M. Gue- 
nepin, whose modest merit, both as an archi- 
tect, and as the head of a school of architects, 
many of whom have done high honour to their 
master, will make him long remembered. M. 
Danvin, whose landscapes last year gave us so much 
leasure, and who diea almost in an instant, while 
niehing new works about a month since. M. C. H. 
Laberge, a landscape-painter, is also dead ; and 
M. Ath anase Jovart, a young sculptor, aged only 
twenty -six. These are the losses that cannot be 
repaired. Next come the absent, and these em- 
brace many of the greatest names. M. Ingres will 
■end nothing to the exhibition, resolving to ex- 
hibit his works hereafter in his studio. M. P. 
Delaroche has but just finished his labours in the 
44 Palais des Beaux Arts.” M. H. Vemet is em- 
ployed at Versailles on the 4 History of the Con- 
quest of Algiers/ M. Ary Scheffer is completing 
a new composition, whose heroine is the Margaret 
of Faust. 4 The Federation of 1790' entirely oc- 
cupies M. Couder. M. Louis Boulanger is finish- 
ing the paintings in the Chamber of Peers. M. 
Delacroix is painting a roof in the same place. M. 
VaUchelet has only completed the pictures in the 
hall of meeting of the peers. M. Abel de Pujol 
has also painted some compositions there. M. 
Decaisnes is occupied at present in the decoration 
of the church of 44 St. Denis du Saint-Sacrament.” 
M. Ziegler, we know not why, has sent nothing 
to the exhibition. These are great blanks ; and 
we regret to be deprived of the pleasure the sight 
of the works of these artists conferred. But let 
us remember these artists have won their laurels, and 
regret less the absence of their compositions, since 
more room is left for the young and anxious stu- 
dent, to whom the walls of the gallery arc, perhaps, 
the goal of many hopes ; the opening of a bright 
future, the means of reward for many a laborious 
hour. But we are in the gallery ; and what is the 
first noted event that occurs almost as soon as the 
doors are open? Four pickpockets are in full 
action ; so also are the police, who inquire of one 
gentleman what he has lost? He replies, “No- 
thing.” They desire him to examine, and he finds 
he is indeed minus various articles. The person 
who addressed him told him to go to the bureau of 
the next commissary of police, and he would find 
his missing goods. The depredators are quickly 
discovered and disposed of. Now, let us turn to 
the two thousand and twenty-one subjects of Art 
which the gallery contains. Four thousand, it is 
said, were presented for selection to the jury ; and 
the number of young artists is also very great. 
Of these four thousand subjects, nine hundred arc 
said to have been portraits in various styles ; of 
these four hundred and fifty only were retained. 
We shall first give a general coup d.' ceil, naming 
some of the principal works in the exhibiton, and 
then return to those that reouire longer descrip- 
tion. In sacred and historical subjects we have m 
the grand style, 4 The Flagellation,' by M. Lhe- 
mann; * An adoration of the Magi,' by M. Le- 
paule ; 4 Bathsheba/ by M. Lestang Parade ; a 
1 Vision,' by M. Roger ; 4 The Miracle of the 
Loaves and Fishes,' by M. Laynaud; 4 St. Louis 
dictating his Capitulaire t,' by M. Flandrin, in- 
tended for the Chamber of Peers ; 4 The Estates 
under Henry III.,' by M. Oscar Gu^ ; a 4 Moses,' 
bv M. Sturler; 4 The Defence of Mazagran,’ by 
M. Philippoteaux. The unfinished, but most beau, 
tiful work of Buchot, at which he laboured at the 
time of his death, a 4 Repose in Egypt,' is also 
here. 4 Jesus Christ giving the care of the Ca- 
tholic Religion to the Fathers of the Church,' M. 


THE ART-UNION. 


Debon ; 4 Vision of Christ,' M. Riss ; 4 Christ 
borne away by Angels after his Death,’ Charles 
Moench; 4 Joseph explaining the Dreams,' M. 
Senties ; and many others, some of which, not 
mentioned here, we shall name hereafter more par- 
ticularly. The landscape-painters are very strong 
this year, although much regret is expressed that 
M. Dagnan has sent nothing. A 4 View of Nice,’ 
which lie has now unfinished in his studio, is 
spoken of by the artistic world as a remarkable 
work. We have rich contributions from Messrs. 
Diday, Andrd Giroux, Hostein, Calame, and Isa- 
bey, jun. ; Bertin, Gaspard Lacroix, Prevel, and 
Mdlle. M. Dupan, &c. &c. There is a very beau- 
tiful composition by M. Aligny, and some of those 
landscapes by M. Corot, which seem to breathe 
the fresh pure air of the woods and fields ; also 
some admirable views in Brittany by M. A. Le- 
leux. M. Biard gives several of his peculiar sub- 
jects. Our readers will not have forgotten his 
terrible views of scenes in the frozen regions last 
year. Now we have 4 Jane Shore condemned to 
die of Hunger in the streets of London 4 Ship- 
wreck in the Icy Seas 4 Hunting in Spitzbergen.' 
M. Delecluze adds, 44 The Hogarth of France has 
also displayed his comic vein in the 4 Passage from 
Havre to Honfleur,’ in which, without infringing 
on the rules of good taste, he has amusingly re- 
presented all the modifications of sea-sickness 
which the passengers begin to feel. The serious 
| air which begins to overspread the party of plea- 
sure, has the most comic effect imaginable, and 
the attraction is so great, that this picture of M. 
Biard is so surrounded, it is hardly possible to see 
it.” Of pictures, 44 de genre,” those of Messrs. 
Charles Beranger, Robert Fleury, and Jacquand, 
are much admired. There is an admirable piece 
of animals, by M. Bracassat ; 4 Marine Views, 'by 
M. Gudin and Morel Fazio ; and M. Borget gives 
us 4 Views in China. 

Of water-colour drawings there are some ad- 
mirable specimens in a style almost rivalling oil in 
power. There are three pictures by M. Decamps, 
and a composition by M. T. Viollet le Due, re- 
presenting the 4 Baptism of the Count of Paris,' 
in water-colours, all most remarkable productions. 
Amongst miniatures, those of Mdme. Mirbel and 
M. Isabey, sen., keep their usual high place. 
Some paintings on glass, compositions in a high 
style, are exhibited by M. Marechal, of Metz, 
who also gives us some very pretty crayon draw- 
ings, 4 A youth in a frail bark in a Storm/ and its 
companion, 4 A Nymph sporting on Grass.’ Of 
the four hundred and fifty portraits retained, we 
may note those of M. Winterhalter ; a beautiftil 
female portrait by M. Armaury Duval ; by M. 
Champmartin 4 A Family Group.' Some charm- 
ing portraits of children by M. Geoffroy ; the por- 
traits by Messrs. Gui^net and Eugene Deverin, by 
Messrs. Henry Scheffer, Bouget, and Rouillard. 
In sculpture we have in marble a 4 Young Child 
reposing on the Grass,’ by M. Droz ; 44 A Drunk 
Fawn/ M. Faillot; a 4 Statue of Henry IV.,' by 
M. Raggi, destined for the city of Pau ; a 4 Judith/ 
by Mile, de Faureau ; 4 A Young Woman,' by M. 
Lc Gendre Herald. The portraits in marble by 
Mile. Zimmerman, are admirable works. This 
lady is the daughter of M. Zimmerman, the cele- 
brated pianist, and married lately the son of the 
portrait painter, M. Dubuffe. 

We return to the sacred and historical subjects 
in detail, but shall enrich our article by a few of 
the general observations of M. Delecluze— abridged 
An this year’s exhibition. He is of opinion that 
there is much technical and material excellence ; 
much knowledge of effect ; wise and agreeable 
arrangement of subject, and all the artifices of Art 
— that the number of agreeable pictures, well com- 
posed and arranged, is considerable. What then 
is wanting ? 44 Depth of thought, as regards com- 
position ; style, as regards forms.” To this there 
are exceptions, which we shall note ; but, in gene- 
ral, the pictures to be described are wanting in the 
essential qualities of Art, those which strike and 
move the minds of spectators. 44 The quality 
which is most precious m Art, is that faculty which 
some men have of expressing with force and truth 
what they experience, conforming, at the same 
time, to certain laws which are the result of good 
sense and general taste ; while they admire the 
masters who have gone before them, they do not 
copy them ; their own ideas and impressions being 
sufficiently strong to result in forms which give 
them expression.” As an example of this quality, 


81 


M. Delecluze cites three small water-colour draw- 
ings by M. Decamps — but great size is not neces- 
sary to a great style, nor to the expression of elevated 
thoughts. Of one of these drawings, the subject 
is 4 The Siege of Clermont, in Auvergne ;' of ano- 
ther, An Episode on the Defeat of the Cum- 
brians/ Here we have true beauty and grandeur 
of invention ; action in the personages, that moves 
the heart and feelings, and draws you out of your- 
self; with groups that recal the most beautiful 
examples or antiquity. The third composition of 
M. Decamps is, 4 Young Turks coming out of 
School ;' a charming drawing — what bouyant life 
these little beings exnibit ! 

We turn to larger works. A large canvass, with 
figures a little above the size of life, is the produc- 
tion of M. H. Lehmann, the subject 4 The Flagel- 
lation of Christ.’ The figure of Christ is noble and 
grand, dignified in suffering. The horrid energy of 
the executioners we think somewhat too strongly 
expressed ; the contrast was sufficient without this. 
M. Lehmann has two other works in the gallery, a 
4 Portrait of H. Payens,' first grand master of the 
Templars ; and 4 Women Bathing,’ or rather going 
to bathe. In all these pictures we hail an artist 
who is making rapid progress. Since his residence 
in Italy we see his works again for the first time, 
and find an increased truth and beauty in his 
colouring, and ease in his compositions. We greatly 
admire 4 Saint Louis dictating his Capitularies ,' 
by M. Hypolite Flandrin, 4 in the presence of the 
Sire de Joinville, Guillaume de Nangis, de Ma- 
thieu, Abbot of St. Denis, Regent of the King- 
dom, Robert de Sarbonne.' The four principal 
personages are portraits ; the heads, hands, and all 
the details are painted with great delicacy and 
study. The subject is grave, and it is gravely 
treated; the painter having even disregarded the 
brilliancy of ornament and costume which historical 
truth might have permitted. 4 The Adoration of 
the Shepherds/ by M. Cottrau, has great charm 
and brilliancy of colouring. We shall here con- 
clude the present account, reserving other pictures 
to be described in a future article. 


VARIETIES. 

Royal Commission for Promoting and 
Encouraging the Fink Arts in the Deco- 
ration of the New Houses of Parliament. 
— We have much pleasure in being at length en- 
abled to notice to our readers, that two meetings 
for this truly national purpose have been held at 
Gwydir House. His Royal Highness the Prince 
Albert presided ; and the other Commissioners as- 
sembled were the Marquis of Lansdowne, the Earl 
of Aberdeen, the Earl of Lincoln, Viscount Mel- 
bourne, Viscount Palmerston, Lord John Russell, 
Lord Francis Egerton, Sir Robert Peel, Sir James 
Graham, Benjamin Hawes, Esq., Henry Hallam, 
Esq., and Samuel Rogers, Esq. Mr. Barry was 
also in attendance, and submitted his plans, gene- 
rally, we believe, with reference to the architec- 
tural details, and the opportunity they afford for 
artistic decoration. The meetings are for the 
present postponed, but the Commissioners will re- 
commence their inquiries soon after Easter ; and 
we have little doubt but that the result will be 
equally beneficial to theprogress of Art, and honour- 
able to the genius, the intellectual advancement and 
social condition of the nation. Considering this 
subject, even in its strictly limited connexion with 
the new Houses of Parliament, it has become, and 
must continue, a matter of extreme interest. But 
to this point it cannot be confined. In the com- 
pletion of great designs the concession of the first 
power is of as much importance as its gradual in- 
crease. The conception may be the individual 
property ; the perfection of the work very fre- 
quently awakens the dormant energies of a nation. 
A few eminent and refined geniuses will communi- 
cate their taste to a whole people ; and whatever be 
the manners of one generation, the next reflects 
them, and progresses beyond. Whether it be that 
the human mind is of so very imitative a nature 
that the excellence it sees it is desirous to vary 
or reproduce ; or whether the love of acquisition 
be the useful and lower stimulant ; yet it is ob- 
servable, that let but one great design be well com- 
pleted by one artist, or the combination of many, 
and instantly there arises a general desire to pos- 
sess, and to extend the sphere of their productions. 
If, therefore, the new Houses of Parliament be 





THE ART-UNION. 


[April, 


decorated in a manner we may reasonably expect, 
either from the known taste of the Commissioners, 
or the acknowledged merit of our artists, they will 
become the standard, the point from which opinion 
will radiate, until in time the private dwelling, in- 
stead of being, as it too frequently is, the mark of 
the frivolous luxury of the owner, will become one 
of the numerous instances and evidences of social 
refinement. Men talk of the moral and physical 
causes which impede the growth of national cha- 
racter ; they extend this opinion to an idolatry ; 
and rest content with inability. The progress of 
the mind is as certain as that of vegetation ; but 
you must sow, and then cultivate the seed, if you 
would reap the harvest. In like manner, by inci- 
pient, steady, and vigorous exertion for the pro- 
motion of the Fine Arte, we shall gradually, but 
finally, insure success. 

Art-Union of London.— In competition for 
the premium offered by the Committee of this 
Association, now so widely spread and influential, 
one hundred emblematical devices were submitted 
to the Committee, amongst which were many of 
very great merit and beauty, evidently by practised 
hands. In the majority of them, however, there 
was great want of correct drawing, the most es- 
sential requirement in an outline design ; while 
some few were positively absurd, and worthy the 
pages of “ Punch/ 1 or any other caricaturist. 
The design chosen by the Committee was found 
to be by Mr. F. R. Pickersgill, and represents 
1 Wisdom Rewarding the Sister Arts/ typified by 
an elegantly entwined group of three female 
figures, kneeling at the feet of Minerva, who, 
seated, is extending a wreath above them. There 
is much dignified simplicity and fine feeling in the 
composition, which well fit it for the intended 
purpose. From the other designs, we will select 
a few for brief mention : the names of the authors 
are unknown. * Britannia replenishing the Lamp 
of the Genius of Art/ one of a series, is a charm- 
ing idea nicely treated ; a little too Egyptian an 
outline, but nevertheless beautiful. 4 Children, 
emblematical of Painting and Sculpture, led by 
Genius to receive rewards from the Society/ is a 
pretty composition ; and the same may be said of 
4 Britannia encouraging Design to high aspirations, 
having first poured wealth at her feet/ 4 Genius 
fostered in the Lap of the Society/ marked with 
an angle in a circle, represents the Society as a 
sitting female with a sceptre surmounted by a 
wheel, extending a wreath over a winged infant on 
her knee : this is an exceedingly nice design ; and, 
indeed, we could pick out at least half a dozen 
others deserving of the same commendation. We 
are glad to find that subscriptions have been 
pouring in from all quarters during the last few 
days, and that the total amount will in all pro- 
bability reach the sum which we last month anti- 
cipated, namely, £10,000. The distribution of the I 
prizes will take place on the 26th inst., in Drury 
Lane Theatre, by the kind permission of Mr. 
Macready, who is one of the Committee, and the 
Duke of Cambridge will take the chair. The 
business of the Society having become so large as 
it is, more accommodation was found to be ne- 
cessary than it at present possesses, and the 
Committee have accordingly taken spacious cham- 
bers in Trafalgar-square — a situation, being closely 
adjacent to the various exhibitions, and moreover 
in the centre of the town, well adapted to their 
wants. 

Association for the Promotion of the 
Fine Arts in Scotland. — On the 26th of 
February, a general meeting of this association 
was held in the Royal Hotel, when prizes to the 
amount of £780 were drawn. The prizes were 
forty in number, the highest being £100. There 
were two of £50 each, one of £40, two of £25, 
six of £20, ten of £15, and the remainder were 
£10 prizes. 

Hampton-court Palace. — It will hardly be 
believed, but nevertheless is true, that the officers 
in attendance in the great hall, recently opened 
to the public, have strict orders to prevent any 
person from sketching so much as a moulding or 
an enrichment, without a written order to that 
effect from Mr. Jesse. Anything more injurious, 
more contrary to the proper spirit in which 
a national structure should be, and, in fact, has 
been, thrown open for the cultivation of taste and 
the advantageous Enjoyment of all classes, it is 
impossible to conceive. To carry it out fully, 
the servants should be directed to command her 


Majesty’s liege subjects not to remember oxf 
part of the building they may have seen, still les® 
any of the pictures, on pain of Star-chambe r 
process! Surely, surely this illiberal absurdity, 
for which not a shadow of an excuse can be ad- 
vanced, needs only to be pointed out to those who 
have the control of the Palace, to be immediately 
abrogated : at all events, it ought to be so, and 
we look to see it done. 

ThbThree Wellington Statues.— History 
nowhere presents an instance of the simultaneous 
erection of three such monuments as the Wel- 
lington statues, voted under similar circumstances 
by the public voice, to a fellow-subject. Mr. 
Wyatt’s colossal work will be the first to be 
erected. That intended for the City, and begun by 
Sir F. Chantrey, is in progress under Mr. Weekes. 
The Glasgow statue is proceeding under Maro- 
chetti. It is a matter of some surprise that the 
last work has not been fnished before ; consider- 
ing that likeness, character, &c., &c., are points 
of no importance in the eyes of the majority of 
the Committee. 

Metropolitan Improvement Society. — 
Since our last notice of this Association, Sir Lytton 
Bulwer, Lord Nugent, Lord Robert Grosvenor, 
Mr. Ewart, M.P., Mr. Brockedon, the Earl of 
Lovelace, Sir F. Trench, and others, have been 
added to the committee; and several meetings 
have been held, preparatory to sending a depu- 
tation to Sir R. Peel, to press upon the Govern- 
ment the necessity, in the first instance, of ob- 
taining a map of London on a large scale, founded 
on actual survey ; a document which, strange to 
say, does not at present exist ; and ultimately, a 
report on the general subject of metropolitan im- 
provements, from the first talent of the country. 
At the suggestion of Mr. Godwin, the Society have 
commenced a collection of maps and plans con- 
nected with the metropolis, and have applied to 
the various parishes, commissioners of sewers, 
&c., to aid this, which will be a very useful step. 

School of Design. — We state, with exceeding 
pleasure, that the council of the School of Design 
have formed arrangements for adding to the 
institution a branch for the instruction of females ; 
and we add, with almost equal gratification, that 
they have confided the direction and superin- 
tendance of it to Mrs. M'lan, a lady whose repu- 
tation as an artist stands deservedly high — very 
nearly, indeed, as first of her sex in the pro- 
fession ; second, at least, but to one, and passing 
that one in a class of art, usually and properly 
ranked as the most difficult of attainment. 
We learn, also, that few ladies are more 
largely esteemed and respected by a very ex- 
tensive circle of friends and acquaintances, 
alike for the energy of her mind, the amiability 
of her temper, and uprightness of conduct ; 
matters, perhaps, even more essential than talent 
in the situation to which she has been — we 
understand unanimously — appointed. This es- 
tablishment of a female school of design, is an 
event of no ordinary importance. The subject 
requires greater space ana attention than we can 
now bestow upon it. In this country, unhappily, 
opportunities of giving employment to women are 
grievously limited. It is bard to point out any 
position which they can occupy that does not 
come, properly, under the head of “ manual” 
labour, or is not mere menial drudgery. We be- 
lieve that immense benefits may arise from this 


of genius; he will be entirely unfettered; and 
when the whole is completed, the Poet — the en- 
tire of his works — will have obtained a large 
series of illustrations — larger than under any other 
circumstances they could have received. The 
Society consists of twenty members ; we are not 
informed concerning the whole ; but we can men- 
tion the names of several, each of whom holds a 
foremost professional rank, and occupies a pro- 
minent place in the regard and esteem oi the 
public; without exception, indeed, these are of 
established repute. Among them are Mr. J. BT. 
Pyne, Mr. J. Wilson, jun., and Mr. A. Clint, 
landscape painters ; Messrs. Meadows, Dadd, 
Frith, Mclnnes, O’Neil, Franklin, Scott, Mclan, 
Ward, Joy, Gilbert, Sibson, Egg, and Poole. 

Artists* Eyes. — At a recent meeting of the 
Academy of Sciences, Paris, M. Rocamir de la 
Torre presented the results of his historical re- 
searches, which he undertook with the view of 
confirming the justness of an opinion he had en- 
tertained on the physiological question — whether 
the colour of the iris qf the eye exercises on vision 
a certain effect , and whether it tends to mod\fy,in 
every individual , the sensation qf colours. With 
this in view, he has collected together documents 
which give the colour of the eyes of a great number 
of celebrated painters of different schools, and he 
finds that, on grouping them according to this 
character, the artists of each category, whatever 
be the style of painting for which they acquired 
fame, have, one and all, a similar prevailing 
tone of colour in their pictures. Thus the pre- 
vailing colours were greyish in the paintings of 
men whose eyes were grey, greenish in those verg- 
ing towards green, dark in the pictures of artists 
whose irides were of a dark brown, &c. A com- 
mittee was appointed to examine into this memoir, 
composed of MM. Arago, Chevreul, and Babinet. 

The Poniatowski Gems. — Mr. Tyrrell, the 
proprietor of the Poniatowski Gems, has published 
a pamphlet in defence of the originality of this 
series, which has been questioned in some of tha 
newspapers and periodicals. To all persons ca- 
pable of appreciating these exquisite works of Art, 
no vindication of their authenticity is necessary ; 
although, undoubtedly, Mr. Tyrrell must have fiat 
very strongly on becoming acquainted with a di- 
rect challenge of their originality. So celebrated 
in the North of Europe has the Poniatowski col- 
lection been ever since the commencement of its 
formation by King Stanislaus, nearly a hundred 
years ago, and latterly so well known was it in 
Italy, that it is not reasonable to suppose that an 
imposition could have been successfully masked 
until now. It is not likely that all the most astute 
judges of our times could have been misled. In 
Mariette’s Traiti des Pierres Gravies it is ob- 
served, in speaking of imitations, that “ For the 
most part, also, they (modern imitators) are in- 
exact in their manner of engraving the names in- 
scribed on them, and the result is, that this vicious 
orthography, if it is combined with any irregu- 
larity in the forms of the letters, any inequality in 
their size, or that the different parts of each should 
not be exactly proportioned, and distinctly sculp- 
tured, or even should the minute strokes which 
form the upright portions be thicker in one part 
than another, no hesitation is felt by connoisseurs 
in pronouncing them to be fabricated.” Besides 
those negative rules, the same writer gives others 
descriptive of the marks which genuine antique 


most judicious and laudable application of the gems should possess, reducing to a matter of little 
public funds ; and trust they may be augmented difficulty, discrimination in a department of art so 


so as to render the plan as advantageous as it 
may be, undoubtedly, made. 

Painters’ Etching Society.— In our last, 
we announced the formation of this Society ; it is 
now completed, and proceeding with great ardour 
and rightly directed zeal. The Society has re- 
solved upon first illustrating the Poems of Gray. 
They rank among the noblest compositions in the 
language, are of ‘‘infinite variety,” and univer- 
sally popular. But, we understand, the principal 
motive for this selection is, that within a compa- 
ratively limited space, they will be enabled to 
publish the whole of the Poems — an illustrated 
edition of Gray complete. Undoubtedly, this is 
a far better plan than to take an isolated poem, 
and, in consequence of the necessity of embellish- 
ing it largely, taking passages, all of which do 
not afford desirable subjects for the artist. By 

I this improved plan, the prints will be very varied ; 

I each artist will have ample scope for the display 


it important and interesting. Like most angry peo- 
ple, however, Mr. Tyrrell has been unwise; nav- 
ist, ing brought a charge against “ The Spectator, 
t is which in that journal has been completely refuted j 
Dur and for having made which, Mr. Tyrrell is bound 
re- to apologize. Although complaints may be urged, 
ay. sometimes, as to the generosity of that newspaper, 
the its iustice and honesty are, and always have been, 
er- unimpeachable. 

pal The Application of Painting to Archi- 
pa- tectural Drcoration.— Mr. E. T. Parris has 
to lately read before the Royal Institute of Archi- 
ted tects a very interesting paper on this subject, 
j is which is now beginning to occupy the serious at- 
jm, tention of men in power. Ever since 1821, when, 
sh- it will be remembered, Mr. Parris invented an 
do apparatus for the purpose of getting to the paint- 
By ings in the dome of at. Paul’s Cathedral, with a 
ed ; view to restore them, he has given much attention 
►lay to the subject of fresco, and has made many ex- 

t _ 


Digitized by VjiUUv Lv^ 


1842.] THE ART-UNION. 83 

periments as to the best mortars and colours, so 
that his opinions are unquestionably entitled to 
consideration. Without pledging ourselves to any 
of his views, we therefore present an outline of 
them nearly in his own words, and may probably 
take some other opportunity to return to the 
subject. No longer ago than from 1820 to 1825, 
Cornelius, Overbeck, Veith, and others were 
employed by the Chevalier Bartholdy to paint 
his villa at Rome in fresco . The attempt to re- 
vive* this method of painting was considered aa 
experiment, and the English patrons and artists 
looked on and talked about it, but did nothing : 
what has grown out of that experiment every one 
knows. Oil paintings for architectural deco- 
ration are not efficient in some situations: the 
ceiling by Rubens at Whitehall will explain 
this ; for since it was last cleaned the canvas 
of the centre oval appears quilted, in conse- 
quence of the cords which confined it rendering 
the surface uneven : it can be seen now only from 
a very few places in the chapel. Starch, rice, 
white of egg, and spirits, are used to destroy the 
gloss of oil pictures, but in every case that I have 
seen, the deep colours and shadows are reduced 
to the dulness of distemper. In all my experi- 
ments in encaustic painting I have never Deen 
able to remove a cloudy appearance, or to drive in 
the wax equally when on a surface of any size ; but 
I believe recent discoveries of the French have 
brought this method to maturity. It must be very 
permanent, and resists the damps of a moist cli- 
mate: durability without gloss is its chief advant- 
age; further, it may be retouched at any time so 
that a thorough knowledge of drawing, and careful 
cartoons are not so essential as in fresco. Fresco 
has been supposed to be a secret and mysterious 
operation, whereas, it is in reality the most simple 
of all modes of painting. From numerous experi- 
ments I believe that all our usual mortars will 
answer equally well, so far as receiving the colours 
ia concerned. The durability is another consider- 
ation ; and must be settled by the practical man. 

I sun convinced that the painter may obtain good 
walls and stuccos for fresco, either in England, 
Russia, India, or America. Vegetable colours 
will not stand. The colours that should be used 
are few, of a deep sober tone and of great inten- 
sity. As a means of decoration fresco surpasses 
all others: it combines excellently with large 
masses of architecture, has a grand and impressive 
effect, the colours never grow darker, and its dura- 
bility is beyond a doubt. The colours need not 
all be transparent as some have said ; opaque and 
solid lights may be laid on in the dark parts as in 
oil. .The artist will be disappointed however, 
who imagines the same effects can be produced as 
in oil. There can be no toning down, no scum- 
bling, no magical touches, or fortunate hits. Each 
part must be matured in the cartoon : all is sober, 
steady, hard work on a damp wall, far from the 
warm studio: all details must be avoided, the 
whole must be grand and severe, the artist must 
live with statues, heroes, and temples in his 
thoughts, and forget the temptations of annual ex- 
hibitions. He must work long days without in- 
termission too, for, when the plaster is once set, 
nothing can be done with it. By the practice of 
fresco painting with few colours and limited time, 
the powers of the artist are more called upon than 
when he can take his ease, alter, and re-arrange. 
It is curious to note the scale of charges For 
architectural decoration from the arrival of Ru- 
bens, in 1630, to 1730, when Thornhill was in his 
zenith, and from that time to its almost total 
abandonment in 1842. Rubens, in 1630, for White- 
hall ceiling received £7 10s. per yard. Delafosse, 
in 1670, for the British Museum, £ 7 . Verrio, in 
1690, exclusive of gilding, £3 12#., with £200 per 
annum for life, when he became blind. Thorn- 
hill, in 1725, for Greenwich, £3 ; and for pilas- 
ters, £1. Cipriani, in 1775, for cleaning Rubens' 
ceiling, £ 2000. Barry, for the paintings in the 
Adelphi, received by the exhibition of them 
£ 503 2#. It is now necessary that English artists 
should prove not only that they can convey their 
ideas in fresco, but that they have ideas to convey, 
and that they are as competent for large historical 
works as the artists of Bavaria, France, and 
Italy ; this could easily be done were commis- 
sions offered them on the same bold scale as have 
been given to the latter. In fresco painting, the 
artist requires numerous assistants and pupils, and 
is not obliged to devote so much of his own manual 

labour to express his thoughts. His pupils, on 
leaving him, have become practical workmen ; and 
some few, like the dwarf on the giant’s shoulders, 
may see further than their master, and so advance 
the Art. 

Process op Electrotint.— This new pro- 
cess, a patent for which has been taken out by 
Mr. Palmer, of Newgate- street, if brought to per- 
fection, would be to the oil painter what the 
newly invented lithotint is to the water colour 
painter. We have seen two or three specimens, 
a landscape with figures and a portrait, on a small 
scale ; and a study of grapes the natural size that 
promise favourably, though perhaps imperfect, es- 
pecially in the delicate tints; the grapes were 
painted by Mr. Lance, and the electrotint im- 
pression has much of the fruity character ; the 
forms are solid and pulpv, the texture is well 
discriminated, and both the effect and handling 
of the painter are rendered with fidelity and 
force ; here, too, the roughness is not so objec- 
tionable as in the more minute sketches. So far 
as regards the preservation of the vigorous free- 
dom of painter’s studies on a large scale, but of 
small size, the process of electrotint appears to 
be even now serviceable; but much has to be 
done in the way of improvement before it can be 
employed with certaintyof success inanything more 
finished or delicate. As to the question of impres- 
sions, the number calculated upon by the patentee 
is very limited. The mode of proceeding is briefly 
as follows : the artist paints in the usual way on a 
prepared surface, and from his painting a cast is 
taken by the electrotype process, from which the 
impressions are printed by the copper-plate 
printer. Sufficient evidence has been given of 
the feasibility of the principle, to encourage per- 
severance in perfecting the invention, which we 
believe originated in a discovery of some German 
experimenter. Another and more practicable 
mode of applying the electrotint process is likely 
to prove of extensive utility ; this consists in its 
application to surface-printing : the artist paints 
his design as before, and from the electrotint 
plate a mould is made, from which casts may be 
taken in the metal used for metallic relief printing ; 
and thus the pages of a printed book may be 
adorned with original designs, in which the feeling 
and touch of a skilful painter are visible. In this 
operation the obstacle that exists both to electro- 
tint and electrotype, namely, the softness of the 
copper plate deposited, is avoided ; but until some 
other method of hardening copper than hammer- 
ing it is discovered, the application of these beau- 
tiful Arts on a large scale, as regards both the 
size of the plate and the number of impressions, 
must be limited : this, however, is not hopeless ; 
for as the Egyptians must have had some method 
of tempering the copper of which their tools were 
composed, and with which they cut granite that 
turns the edge of our chisels, it may be expected 
that in this age of scientific discovery, the same or 
an equally efficacious method may be found out. 
Artists who feel interested in this process— and 
every artist ought to do so — will do well to call 
upon Mr. Palmer, and see and judge for them- 
selves. He has authorised us to state that he will 
gladly exhibit and explain to them all matters 
connected with his patent.* 

* La Zingara,’ an Original Drawino 
of A. Allegri, called Correggio, at Mr. 
Colnaghi’s. — The Royal Gallery at Naples 
contains many gems of Art, such as 4 The Mag- 
dalen,’ by Guercino ; 4 The Sybil* of Domenichino, 
and many others. But amongst all these, the 
most celebrated is a work of Correggio, sometimes 
called the 'Madonna del Sacco,’ sometimes the 

4 Zingara,* or * Zingarella.’ Every one knows 
how rare and difficult to be procured are the works 
of this master; and from Tiraboschi, Pungileoni, 
and all the biographers of Correggio we know how 
peculiar was the manner in which he prepared the 
sketches for his pictures, rendering these sketches 
as precious as his finished works. We have just 
been delighted with the sight of the drawing for 
the 4 Zingarella,’ which has every character of 
originality. We do not speak of the quality of 
the paper, of the materials, nor the history attached 
to it. The true artistic characters are sufficient ; 
they are the same in every respect as in many 
other drawings of Correggio which we have had 

* Since the above was written, apamphlet on the sub- 
ject has been published by Mr. Thomas Sampson, to 
which we shall have occasion to refer. 

occasion to examine : and it is sufficient to observe 
the manner in which this drawing is conducted to 
pronounce it a treasure in any collection. If it be 
true it has already found a purchaser, we congra- 
tulate him on his acquisition. For those persons 
who, instead of judging by their eyes and know- 
ledge, prefer to judge of works of Art by the 
histories attached to them, we can affirm that 
there is enough to satisfy such pseudo -connoisseurs 
in the history of this drawing, which it can be 
proved was brought from Parma (the favourite 
town of Correggio), when Maria Louisa, the 

44 Infanta,” left it to go to Madrid as the wife of 
Charles IV. At a sale during the civil war in 
Spain the drawing was bought, which we have 
been admiring at Mr. Colnaghi’s, Pall-mall East. 

Strawberry-hill. — The disposal by auction 
of the effects at Strawberry-hill, is at length 
fixed for the 25th inst. The sale, which is in 
the hands of Mr. Robins, will occupy nearly a 
month, although continued daily; and must, as 
well from association with the name of Walpole, 
as from the variety and rarity of its contents, be 
one of the most interesting sales that has ever 
taken place in this country. The assemblage of 
valuables and curiosities, for which Strawberry- 
hill has long been famous, was in progressive 
formation during half a century, and is constituted 
of such productions, in every class of art and 
literature, as signalize the cultivated taste that 
has been exercised in collecting them. Admirable 
specimens of the most valuable, antique, and 
modern fabrics, have been here brought together. 
The porcelain is Sevres and Dresden, the richest 
of the respective manufactories. The numismatic 
cabinet contains nearly 5000 coins and medals, 
in gold, silver, and bronze ; and the cammei and 
intaglj are of extreme beauty. The collection of 
armour is not extensive, but one particular suit 
calls for especial notice ; it is a splendid panoply, 
designed for Francis I. by Benvenuto Cellini, by 
whom there are also other works. Of the pictures, 
it is scarcely necessary to observe, that they are 
by artists of the highest reputation ; and the 
prints and drawings beautiful and select. While 
Strawberry-hill was the residence of Horace 
Walpole, a catalogue was formed of this embarras 
of curiosities, but this is now quite out of print. 

Nash’s Drawings. — The original drawings 
of Mr. Nash, from which were lithographed his 
valuable work, 44 The Ancient Mansions of Eng- 
land,” are now being exhibited at Messrs. Graves 
and Co’s, in Pall Mali. They are forty-six in num- 
ber, and, independently of their masterly execution, 
constitute, in historical, architectural, and pic- 
turesque interest, the most attractive series of the 
kind we have ever seen. It is difficult to estimate 
the powers of this artist without seeing his original 
works. His labours supply invaluable illustra- 
tions to our national topographv ; for next to the 
sayings and doings of remarkable persons, we are 
desirous of knowing something of the places they 
inhabit, or have inhabited. The mansion of 
Knole, or Knowle, in Kent, furnishes several sub- 
jects. By a charming view at Penshurst, we are 
reminded of Sir Philip Sidney ; and by one at 
Charlcote of the Lucy family, and the youthful 
vagaries of Shakspeare. Three subjects are taken 
from the magnificent mansion, Hardwicke Hall, 
near Chesterfield, which was built by the Countess 
of Shrewsbury, to whom was committed the cus- 
tody of Mary Queen of Scots. There is a beauti- 
ful memento of Bramshill, Hants, a residence built 
for Prince Henry Frederick, the eldest son of 
James I. In this drawing a company, of the time 
of Charles I., are introduced engaged in the now 
obselete game of bowls. Another remarkable 
drawing shows the garden front of Wollaton, near 
Nottingham, one of the most beautiful remnants 
of the Elizabethan style. There is, indeed, not 
one view in the entire series that does not advance 
claims to the highest consideration, being all 
nearly akin to historical pictures. 

The Heroes op Waterloo. — Another work 
of very great interest is about to be exhibited, 
privately, in the gallery of Messrs. Graves and 

Co., but during the next four days only ; so that 
all who desire to examine it must 44 make haste.” 
Some time ago, indeed, we were about to say 
some years ago, we offered some observations on 
a work in progress by J. P. Knight, Esa., A.R.A. 

It is now finished, having occupied the greater 
part of his time since the year 1838, when it was 
commenced. It is entitled, 4 The Heroes of 

. 




84 


THE ART-UNION. 


[April, 


Waterloo and contains a series of portraits of 
all the leading officers who shared in the glory 
of the eventful 18th of June, 1815. We 
have rarely seen a more successful work, con- 
sidering the very unmanageable nature of the 
materials ; for the difficulty of grouping them, so 
as to give that which was indispensable, a likeness 
of each , was so great as to defy the utmost strength 
of genius “ to cope withal.” Either the historical 
character and pictorial effect must have been sacri- 
ficed, or the picture must not have rested its 
claims to value upon its preservation of the forms 
and features of the many great men represented 
in it. This disadvantage will be at once obvious ; 
but the evil is amply compensated for. We recog- 
nize in a moment every individual of the assembly ; 
from the chiefest of them all — the Duke himself— 
down to the historian of his acts and mind, Colonel 
Gurwood. And this, after all, is the grand pur- 
pose of the artist; his production, so considered, 
does him infinite credit, and may be looked upon 
as an historical record, that will be valuable not 
alone to the existing age, but for centuries to 
come,— as long, indeed, as the memory of the 
j battle of Waterloo shall continue a cherished 
memory of Great Britain. We are glad that 
this picture is to be placed in the hands of a 
competent engraver, and to be produced on a 
scale sufficiently Larpe, to give the resemblance 
with accuracy. It will be a most desirable acqui- 
sition to every British soldier, to leave as an 
heir- loom to his descendants ; for it will supply 
in one volume, as it were, the personal histories 
of nearly all the most distinguished officers who 
rendered the nineteenth century glorious and 
famous. We had forgotten to notice, that the 
scene takes place in the waiting room of Apsley 
House. The Waterloo heroes are the guests of 
the Waterloo hero ; and they are represented as 
assembled previous to the annual dinner by which 
the Duke commemorates the victory, to which 
they, each and all, contributed. The party is in 
the act of rising, to be ushered by his grace 
into the dining-room. 

W yatt's Statue ok the Duke op Welling- 
ton. — The model of this great work is finished, 
and has been shown by the sculptor to a party of 
his friends, from more than one of whom we have 
learned that it will be in all respects worthy of the 
original, the country, and the arts. It is, as our 
readers are aware, to be affixed above the gateway 
leading into the Green-park, directly opposite to 
Apsley House, — a site most injudiciously chosen, 
and objectionable on many grounds ; chiefly, be- 
cause its immense magnitude will be lost, if 
placed so high : it is understood that this situation 
for it, is opposed to the views and wishes of the 
sculptor. Some idea of its prodigious size may 
be formed from the facta, that the ears of the 
horse measure two feet in length, and that a 
mounted dragoon may ride under its belly. It 
will be the largest equestrian statue ever executed. 
We shall, perhaps, before next month, have an 
opportunity of examining and reporting upon it 
more fully. We learn from so many safe au- 
thorities that it will be a work of the loftiest 
genius, that we feel justified in even now con- 
gratulating the age upon an acquisition worthy 
of it; the more so, as the outrage upon art, 
decency, and common-sense, and the libel upon 
the Duke, is of a certainty to be perpetrated at 
Glasgow. 

Burford’s Panorama op the Battle or 
Waterloo. — This Panorama was exhibited by 
Mr, Burford some twenty years ago ; that is to 
say, it is repainted from the same drawings. The 
spectator is supposed to be placed near La Haye 
Sainte, whence he commands a view of the ope- 
rations generally of both armies. The point of 
time chosen by the artist, is the last grand effort 
made by Buonaparte on the appearance of the 
Prussians. He concentrated his artillery in 
froqt of La Belle Alliance, and under cover of 
nearly 300 pieces, advanced the twelve co- 
lumns of the Imperial Guards under Ney, who 
had not yet been in action. The first column 
ascended the heights supported by cavalry, not- 
withstanding the appalling fire that was opened 
on them from the front ana flanking batteries. It 
was upon this occasion, that the Duke of Wel- 
lington gave the memorable command, 44 Up, 
Guards, and at them 1 ” when the dark columns 
of the enemy were attacked by the British infantry, 
and repulsed with immense (daughter. The Duke 


of Wellington and his staff are immediately in 
rear of the Guards, and the Marquis of An- 
glesea is leading the grand charge of cavalry which 
completed the confusion of the French lines. 
The picture is carefully painted throughout, and 
the reality approached as nearly as is possible 
upon cauvass. 

Daguerreotype Portraits. — Unwearied 
experiment has astonishingly improved the know- 
ledge of the application of the Daguerreotype to 
portraiture. We cannot help remarking this from 
some specimens publicly exhibited by M. Claudet ; 
yet, viewing the discovery and its capabilities in the 
same light in which it appeared in its earliest state, 
the general complaint against these portraits has 
been their extreme coldness of tone : this defect, 
however, M. Claudet has isucceeded in obviating, 
by great improvement in the management of the 
back ground, which cannot fail to augment the 
popularity of these portraits. 

Leather Imitations of Carving. — We 
have been gratified by an inspection of a collection 
of imitations in leather, of wood carvings, in 
every variety of taste. Among the specimens are 
entire panels in the cinquecento and Elizabethan 
styles, as also in every kind of florid and figure 
carving usually met with in wood. Colour 
and gilding are received by these works with 
admirable effect ; and when painted to re- 
semble oak, they are with difficulty distin- 
guishable from veritable carvings. The process 
of their production is simple; so much so as 
to render the cost of this kind of decoration 
small, compared with the expense of carving. 
The leather is prepared by being subjected to the 
action of steam in a tank, whereby it is reduced to 
the consistence of gelatine, in which state it re- 
ceives the destined impression from a metal die 
— thus are produced, in every degree of relief, 
figures, flowers, fruits, foliage, &c. &c., as adapted 
to interior embellishment. 

Islington Art-Union. — We have received 
the prospectus of a projected Art-Union, to be 
entitled the 41 Islington and North London Art- 
Union.” On the subject of these admirable asso- 
ciations, we have already on every occasion of 
their falling under our notice expressed our senti- 
ments ; indeed there can be but one opinion on 
the subject, for the increase of the number of 
these institutions shows that it is desirable to 
multiply the benefits already arising from them. 
The plan proposed differs from that of the London 
Art- Union in some main points, one of which is 
the determination of the managing committee 
44 not to expend its resources in the production 
of engravings, but in addition to the larger prizes, 
to distribute various small ones, of which a selec- 
tion of prints may form a part.” The subscrip- 
tions are fixed at half-a- guinea, and the state of 
the funds at the closing of the subscription books 
will, of course, regulate the number and value of 
the prizes. The committee have determined that 
no prize shall ever exceed one hundred pounds in 
value ; until the annual subscriptions amount to 
two thousand pounds. The London exhibitions 
of Art are named as those from which works may 
be selected, provided the prize drawn shall in 
amount exceed ten pounds. The holders of prizes 
of amounts below ten pounds may select 44 pic- 
tures, drawings, medals, engravings, casts, or 
other works of Art, the productions of living 
artists, subject to the approbation of the commit- 
tee.” Subscribers, to whom may fall prizes of 
or exceeding one hundred pounds, will have the 
option of choosing two works of Art. This Art- 
Union is announced upon principles which ought 
to secure it abundant success ; and it exhibits an 
example of spirit and taste on the part of the 
inhabitants of the northern suburbs, which will 
not assuredly be lost upon the other wealthy and 
populous districts of London. 

Architecture at King's College. — Pro- 
fessor Hosking, in his introductory lecture, 
after pointing out the numerous branches of 
knowledge with which an architect must be well 
acquainted, if he desires to discharge his duties 
satisfactorily, dwelt forcibly on the fact that the 
profession of architecture does not hold that place 
m public estimation to which it is most justly 
entitled. Architects are confounded in the public 
mind either with artisans or with draughtsmen ; 
whereas they are entitled to rank as much above 
the latter os the latter do above artisans. Dilating 
on the different arrangements required for the 


palace, the courts of law, villas, gaols, picture 
galleries, and private dwellings, the lecturer 
remarked, that to recommend attention to the 
arrangement of peasants’ cottages might seem to 
be trifling : certain, however, he was, that if more 
study were given to these, less would be needed 
for hospitals and workhouses. With respect 
to his opinions of Vitruvius, long since pub- 
lished, he had to complain of many mis- 
statements and unmerited abuse. After mature 
consideration, his opinions on this head had not 
at all changed. He was convinced that a man 
might as well attempt to learn history from the 
44 Seven Champions of Christendom,” or 44 Gul- 
liver's Travels,” as to become an architect by 
studying Vitruvius. Different styles of architec- 
ture might be compared to different languages; 
they were the media through which thoughts 
were to be expressed. How few men can speak, 
still less think , in many tongues. So was it with 
styles ; and he would advise the student earnestly 
to use one style well, rather than many badly. 
The degradation which the profession suffered 
by the present system of competition was forcibly 
pointed out. The difficulties of arranging proper 
conditions and obtaining a proper tribunal, Mr. 
Hosking considered were insurmountable. He 
strenuously advised all who wished to make their 
profession respected, to furnish no design without 
a fee : those who are to have the advantage ought 
to pay for it. If this were done, the ideas of all 
the competitors might be used, and the selected 
plan thus rendered more successful. 

Death op Mr. George Clarke.— We re- 
gret to announce the death of this sculptor, which 
took place suddenly, at Birmingham, on the 
morning of the 12th ult. He was in his 47th 
year, and has left behind him a family of nine 
children, unprovided for. At the time of his 
death, he was engaged in casting the leaves for 
the foliage of the Nelson monument. His princi- 
pal work was the statue of Major Cartwright, in 
Burton-crescent. 

Pictures sold at the British Institution during the 
last mouth No. 174. ‘ Interior of the Keep— Rich- 
mond Castle/ W. Fowler, *6, — Wethered, Esq. 73. 
4 Carapagua of Rome — Herdsmen preparing to drive 
the Cattle/ C. Josi. 266. 4 Study from Nature/ K. 
Grimstone, 10 guineas, W. Meyrick, Esq. 64. ‘Glean- 
ing— a Scene in Kent/ W. F. Witherington, R.A., 35 
guineas, T. G&rle, Esq. 67. ‘ The Lake or Zug, the 
Kigiberg, &c./ Charles Runciman, 20 guineas, H. Hol- 
land, Esq. 184. 4 View of St. Ann’s Hill/ T. S. Waia- 
wright. Rev. H. L. Bennett. 244. 4 Olivia— Vicar of 
Wakefield/ T. M. Joy, *15, Sir Edward Bowater. 37». 
4 South-east View of Windsor Castle/ R. B. Davis, 40 
guineas. 320. 4 Flemish Peasant/ J. D. Wingfield, *5. 
40. 4 View from Bowbiil, near Chichester/ Copley 
Fielding, 40 guineas, the Hon. the Vice-Chancellor 
Wigram. 58. ‘Too big for the Basket/ J. Uatciuau, 
*25, C. W. Packe, Esq. 43. 4 Amalfi/ J. Uwins, *40, 

C. W. Packe,Esq. 

Sales of th b Month— past and to come.— Mr. Phil- 
lips, on the 23rd and 24th ultimo, sold the cabinet pic- 
tures of M . de St. Denis, among which the following sub- 
jects realized the prices affixed :— 4 Interior of a Corps de 
Garde.’ Greuze, 30 guineas ; 4 Landscape/ S. de Honing, 
24 guineas; ‘Cattle and Landscape/ 23 guineas; ‘A 
Lady listening to a Cavalier playing the Guitar/ Wat- 
teau, 30 guiueas : 4 A Young Lady listening to a Gen- 
tleman reading Delfs/ Van der Meer, 66 guineas ; ‘The 
Fortune-teller/ Watteau, 68 guineas; 4 Cattle, and 
distant View of Dort/ Van Stiy, 47 guineas; 4 The 
Interior of a German Kitchen/ Van liersch, the Sor- 
cerer of Luxembourg, 48 guineas; 4 Drawing-room in 
the Government-house at Luxembourg,’ Van Hersch, 
50 guineas. The two last-named pictures were pur- 
chased by the Marquis of Lansdowne. 4 An Infant with 
Paroquet tes/ Greuze, 80 guineas; ‘A Cavalier with a 
White Horse/ Philip Wouverroans, 30 guineas ; 4 La 
Belle- Paysaone/ one of Greuze’s most celebrated works. 
280 guineas; ‘Portrait of Madame de Montespan, 
Watteau, 40 guineas ; 4 Winter Scene/ Van 8try, 41 
guineas ; 4 Interior, with Village Musicians, &c./ Zorg, 
45 guineas; 4 Interior of a Church/ De Witt, 47 
guineas; 4 A Lady surrounded by her Children, G. 
Netscber, 44 guineas; 4 Landscape, with Figures, 
Albert Cuyp, 36 guineas. . 

Messrs. Christie and Manson will sell by aoctioa 
the pictures, drawings. Sic. See., of the late Sir David 
Wilkie, about the end of this month, but the day of 
sale is not yet definitively fixed. It is worthy of note, 
that at a recent sale at Sotheby’s, an unlettered prow 
of 4 Bolton Abbey in the Olden Time/ published at 
eight guineas, was sold for twenty-three guineas; and, 
at the sale of Mr. Wallace's prints, a lettered proof of 
Wilkie’s 4 Rent Day/ produced twenty-two go*®** 1 ; 
This is encouragement to publishers to issue works ot 
which time will increase the value. We rejoice to learn 
that our anticipations relative to the publication ot 
Eastlake’s 4 Pilgrims arriving in sight of Rome 4 *»•*• 
been fully realised. A fine impression is, already, scarce. 



1842 .] 


THE ART- UNION. 


85 


SOCIETY OP BRITISH ARTISTS. 

SUFFOLK-STREET, PALL-MALL EAST. 

The Nineteenth Annual Exhibition of the Society 
of British Artists was opened to the pnblic on Mon- 
day the 28th ult. : at so late a period of the month 
— almost on the eve of publication — it will be 
impossible for us to do more than notice the 
collection in general terms. It is of the average 
quality ; to describe it as possessing much merit, 
or even as holding out great promise, would be 
only to mislead the public and the artists; while, 
to decry it as discreditable and valueless — as we 
perceive two or three of the diurnal critics have 
already done — would be equally ungenerous, un- 
just, and unwise. It consists of 804 works ; he 
who looks among them merely to find fault will 
have plenty to satisfy his appetite ; but those who 
desire to be pleased, or, at all events, are willing to 
see what is good, will find much wherewith to be 
content. 

The whole character of the Society has, however, 
undergone a change — a change thorough and com- 
plete; and one which we cannot describe as an 
improvement, although it may be advantageous to 
the members, and one, which we are willing to ad- 
mit has been, in a degree, forced upon them. 

In former times, until within the last three or 
four years, indeed, the Society in Suffolk-street, 
was regarded as a sort of nursery of genius ; a 
state of preparation for the paradise of the Royal 
Academy. And our memory reverts to the time 
when among its exhibitors were many who have 
since been elevated to high places. The greater 
minds rose and soared to a purer atmosphere ; 
still, many men of large ability and extended popu- 
larity remained ; ana year after year saw upon 
their walls, the productions of younger candidates 
for fame, who made here their reputations to have 
them confirmed elsewhere. 

This advantage the Society has latterly sacrificed. 
Last year we saw the lingering relics of the good 
old system ; this year there are scarcely any traces 
of it ; and next year it is (as we understand) to be 
exploded altogether. In other words, the exhibi- 
tion at Suffolk-street will consist, hereafter, ex- 
clusively of the works of members of the “ Society 
of British Artists.” This plan will, at all events, 
have honesty to recommend it ; the public and the 
profession will comprehend the case exactly ; and 
contributors will have no ground of complaint that 
their pictures have been intentionally ill-placed in 
order to compel them to join the Institution. 
Viewed apart from prejudice, there is reason and 
some justice in this resolution. The Society has 
still to encounter the disadvantage of an income 
not equal to the expenditure ; their costly building 
still hangs like a dead weight around their necks ; 
and it seems but fair that all who partake of the 
benefits it confers should participate in the sa- 
crifices necessary to obtain these benefits. 

To form a correct judgment upon this matter, 
we ought to revert to the past history of the insti- 
tution . The Society was formed in 1824. The 
earliest of its catalogues upon which we can lay our 
hand is the third — t. e. 1826 ; it then consisted of 
twenty-eight members ; in 1827, the number was 
twenty-nine ; in 1832, it was still twenty-nine ; in 
1837, instead of an increase, there had been a con- 
siderable falling off. We find by the fourteenth 
catalogue that its members amounted to no more 
than twenty-three. In 1840, it had somewhat aug- 
mented, being twenty-eight— exactly the number, 
however, to which it was limited in 1826— two 
years after its formation. Now all this while, the 
artists who contributed nothing to its support, 
were as much benefited by it as those who were 
bearing the 44 heat and burthen of the day ;” their 
pictures were, up to this period, as well placed as 
those of the members, and it is notorious that 
large sales were annually effected of the contribu- 
tions of parties who received all and paid nothing. 

This, when we look closely into the subject, 
seems neither fair nor just ; and it does appear rea- 
sonable that some plan should have become ne- 
cessary for more equitably dividing the responsibi- 
lities, anxieties, and expenses consequent upon the 
maintainance of the Institution. 

Whether there could have been a purer and 
manlier mode than that which has been adopted, is 
a question we are not prepared to answer; that 
mode may be stated in a few words — it was so to 
discourage voluntary contributors who sent pic- 
tures that they should be induced to withhold their 


contributions altogether, or be compelled to join 
the Society in order to secure “ good places,” and 
obtain equal chances of sales. 

That this project has answered as far as the inte- 
rest of the Society is concerned, will be sufficiently 
obvious to all who examine — as we have done— the 
catalogues of past years, and contrast them with 
that more immediately before us — the catalogue of 
the year 1842. There are now thirty-six mem- 
bers ; eight have been added to the body within 
two years, since 1840 ; while, during the seventeen 
years preceding, it had received no additions what- 
ever. 

And these accessions have been, in the strictest 
sense, sotisfactoir ; among those who have this 
year joined the Society are Mr. T. B. Pyne (a 
landscape painter of acknowledged talent; one, 
indeed, who holds a very high rank in his pro- 
fession, and would confer credit upon any institu- 
tion) ; Mr. Boddington (another landscape painter, 
to whose abilities we have borne testimony upon 
almost every occasion in which we have been 
called upon to notice an exhibition, either metropo- 
litan or provincial) ; Mr. Hill, (a portrait painter, 
whose works are marked by much force and deli- 
cacy, and hold out a promise of great excellence 
hereafter) ; Mr. Zeitter (who in his own peculiar 
style— and that a right good style — has very few 
rivals anywhere) and we believe there are two 
others elected since 1841, to whom we cannot 
directly refer, as the catalogue for 1841 is not at 
hand for reference. 

These facts should not be lost sight of. It be- 
comes, therefore, alike the interest and the duty of 
many artists, whose professional rank or merits 
cannot secure them “good places” elsewhere, to 
consider whether it be not their wisest plan to join 
this Society ; and, by joining it, to infuse purer 
blood into its constitution ; to render it worthier 
public patronage ; and advance its character by 
rendering its annual exhibitions more conspicuous 
for excellence than they have hitherto been. 

At all events, we do think that the Society will 
do rightly and honestly to declare their intentions 
in a plain and straightforward manner ; not to 
place at all the offered contributions of artists who 
will not become members, and so share the re- 
sponsibilities, anxieties, and expenses of the estab- 
lishment— a mode far worthier than that which 
they now pursue, and have, of late years, studiously 
adopted. 

It just strikes us, that there is, or rather was, a 
bye-law of the Royal Academy, which rendered in- 
eligible to election into that body, a member of any 
other institution connected with the Arts. We 
believe, if, indeed, it ever existed — of which we are 
by no means sure — that it has been either abrogated 
or suffered to become a dead-letter. The recent 
election of Mr. Barry (who still continues a mem- 
ber of the Institute of British Architects) into 
the Royal Academy is a case in point. But sure 
we are, that if proper steps were taken, a rule so 
unsuited to the present times— although wise and 
necessary when the means and appliances of the 
Royal Academy were scanty — would be instantly 
dispensed with. 

As we have said, the late period of the month 
at which the exhibition was opened, precludes us 
from noticing its contents ; and we have thought 
that such remarks as those we have submitted were 
more pressing and might be more useful. 


ART IN THE PROVINCES. 

The Royal Hibernian Academy. — The 
last day for receiving pictures, by the Royal Hi- 
bernian Academy, will be the 16th April. English 
artists should bear in mind that the 14 Irish Art- 
Union” will have a large sum to expend in the 
purchase of works of Art : we understand between 
£3000 and £4000; and that the selection of 
prizes is not limited to artists of any country. We 
repeat our entire conviction that, although the 
choice of pictures rests with a committee, that 
committee consists of noblemen and gentlemen 
whose names afford sufficient guarantee for the 
integrity and judgment to be exercised. We 
feel assured that no really good and valuable 
works, of comparatively moderate size, that may 
be sent to Dublin, will be returned to London. 
Cases containing pictures should be, we imagine, 
addressed to George Petrie, Esq., secretary, Royal 
Hibernian Academy, Abbe-street, Dublin ; and 


forwarded via Liverpool ; the carriage must be paid 
by 44 uninvited” contributors. 

Bristol Art-Union.— A meeting has been held in 
the committee-room of the Literary and Philosophical 
Institution at Bristol, to consider the formation in 
that city of an Art-Union, upon the plan of those in- 
stituted in London, Edinburgh, Liverpool, &c. It was 
expected that the Rev. John Eagles would preside, bat 
that gentleman waa prevented by another engagement. 
Mr. Robert Tucker, who acted as Honorary Secretary, 
read the minutes of a meeting held on the 28th Janu- 
ary, at which it was resolved that such an association 
be formed, and that this meeting beheld in furtherance 
of that object. Mr. Tucker represented the benefits 
and advantages derivable from the formation of such a 
society, and called attention to certain practicable im- 
provements in the administration of the affairs of the 
proposed institution, which would tend much to the 
benefit of the subscribers. After some remarks from 
the Chairman, a short conversation took place between 
that gentleman and Mr. Tucker, on the propriety of 
electing artists to seats in the committee, when both 
concurred in an opinion that no better plan could be 
adopted than that on which the Art-Union of London 
was modelled. Mr. Kennedy, in answer to a question, 
said, that a reserve would be made from the funds to 
meet expenses, so that no subscriber would be liable 
to any call beyond bis subscription. Mr. Tucker then 
read the rules of the London Art-Union, together with 
an address which he proposed for circulation, both of 
which were approved by the meeting.— At a subsequent 
meeting belli at the same place, and with the same 
view— the Rev. John Eagles in the chair— Mr. Tncker, 
the Honorary Secretary, pro. tem., having read the 
minntes of the last meeting, announced that bis Grace 
the Duke of Beaufort had condescendingly expressed 
bis willingness to accept the presidency of the society. 
Some conversation ensued with respect to confining 
selections to the works of the artists of Bristol, against 
which serious objections were urged. The Reverend 
Chairman said that Bristol was, of all others, a place 
especially in which an Art-Union ought to be formed. 
It had, from nature, the most beautiful scenery that 
could be desired for the pencil of Art— scenery abound- 
ing in all the varieties or grandeur and beauty, and she 
had produced artists of distinguished fame throughout 
the world. She could claim as her own Sir Thomas 
Lawrence, once President of the Royal Academy; 
Turner, whose intrinsic genius, however chequered by 
his eccentric vagaries, no man could deny ; and Bayley, 
who was equalled in nit art only while Chantrey lived. 
Bristol, if not the birth-place or the men, was at least 
the birth-place of the genius of Danby, Rippingillc and 
Bird, whose home ana domicile during the zenith of 
their fame was here. With respect to Bird, Bristol had 
been unjustly defamed ; and the character of her mer- 
chants charged with illiberality, sod even malevolence, 
towards the genius of Biad. He had been requested to 
state the truth of the case in this matter, and had ad- 
duced facts, with substantial proofs of them, in vindica- 
tion of the character of Bristol. He was convinced that, 
if fair encouragement were given to the Arts in Bristol, 
her artists would in fnture fully sustain her feme for 
talent in times past. After some resolutions of minor 
importance, thanks were voted to the Chairman, and 
the meeting broke up. 

Liverpool Artists’ Conversazione.— Sir,— It is 
beyond all question, that great and permanent advan- 
tage is gained by a free intercourse among artists and 
patrons of Art ; and much good must result from a 
plan which 44 combines the amenities of social life with 
the encouragement of the Fine Arts.” Impressed with 
this conviction, and in the hope of imparting an addi- 
tional interest to them, I proposed the formation of a 
Society in Liverpool on a novel plan, to be called the 
Artists’ Conversazione ; whilst it is calculated to ex- 
tend greatly the connexion of the artist, by bringing 
both himself and his works into more intimate know- 
ledge with those gentlemen who feel a pleasure in pa- 
tronizing rising talent, it, at the same time, gives to the 
non-professional member of the Society, at the close of 
each season, the possession of two sketches, which he 
will estimate as pleasing reminiscences of the several 
artists’ styles, in addition to their value as works of 
Art. It is gratifying to find that both artists and 
patrons entered into the plan with avidity, and conse- 
quently there is no doubt but it will be productive of 
lasting benefit. The peculiar feature of the Society is, 
that it consists of an unlimited number of members— 
one-third professional, and two-tbirda non-professional ; 
each professional member presents to the Society, on 
each evening of meeting, an original sketch as his con- 
tribution. There are four meetings in the year : on the 
last of which the presentation sketches are to be dis- 
tributed by lot among the non-professional members, 
by which means each gentleman becomes possessed or 
two original sketches at the end of the season. All ex- 
penses of tea and coffee are defrayed out of the sub- 
scriptions of the non-professional members. The first 
meeting was held at the Adelphi Hotel, on Wednesday 
evening the 23rd of February. In addition to the pre- 
sentation sketches, there were on the table many fine 
works on Art, and several pictures in progress were in- 
troduced by the respective professional members, 
which added greatly to the interest of the evening, and 
some substantial proofs were afforded of the benefits 
resulting from the Society. — 1 am, &c., Samuel 
Kglinqton, Secretary to the Liverpool Academy of 
Arts, 


Digitized by v joogle 



86 


THE ART-UNION, 


[April, 


CORRESPONDENCE. 

THE SCOTTISH ART-UNION. 

TO THB EDITOR OF THR ART-UNION. 

Sir,— We have, at different timet, observed in the 
Art-Union various letters and articles on the subject 
of the Association for the Promotion of the Fine Arts 
in Scotland, the object of which seems to be to create 
an impression that Scottish Artists act in a most illi- ' 
beral manner towards their brethren in the south, by 
using every means in their power to induce the Asso- 
ciation to exclude from their purchases the works of 
English artists not resident in Scotland. 

So far from the artists interfering in this matter, 
when the Association was first formed, they held a 
meeting to consider whether they should co-operate in 
any way with the Association, and they came to an 
unanimous resolution, that it would be improper, on 
their part, to interfere or to express any opinion as to 
its management. Accordingly, no artist has ever been 
a member of the committee of the Association, or has 
ever had the least control in the management of its 
affairs. 

. This principle of non-interference was carried so far, 
that when, some time ago, it was in the contemplation 
of a number of the artists to make an application to the 
Association to throw open its benefits to all artists, 
the resolution above-mentioned was thought to stand in 
the way of their taking such a step. But this resolu- 
tion, though framed with the best intention, has had 
no good effect, and, as it has not protected artists 
firom unjust suspicions, it cannot exclude any one 
from vindicating himself from unjust censures. 

We (the artists subscribing) therefore come forward, 
and, through the medium of the Art-Union (which 
we have no doubt will be as open to us as to those who 
have censured us), deny the truth of these accusations ; 
and state to the public and to the Association, that 
there is nothing we so much desire as the opening of 
the Association to artists from every quarter. That we 
think that in their purchases the committee should be 
guided by the merit displayed in the works, and by no 
other consideration ; in short, that they should act on 
the principle so admirably expressed in the late Sir 
Francis Cbantrey’s will, that regard should be had by 
the judges 44 solely to the intrinsic merit of the works, 
and that they should not permit any feeling of sym- 
pathy for an artist or his femily by reason of his or 
their circumstances or otherwise to influence them.” 

We desire no monopolies, considering them equally 
hurtful in Art as in everything else. All we wish is the 
advancement of Art— British Art— which we think will 
be best forwarded by fair and open competition. 

We are, &c., 

Horatio McCulloch, R.S.A. 

Dan. Macrkk, R.9.A. 

Charles Less, R.S.A. 

W. Johnstone, A.R.S.A. 

Jas. E. Lauder, A.R.S.A. 

John Sheriff, A.R.S.A. 

Alex. Christie. 

John C. Brown. 

Charles H. Wilson, A.R.S.A. 

Kenneth Macleay, R.S.A. 

John Ballantynr, A.R.S.A. 

William Bonnar, R.S.A. 

Montague Stanley, A.R.S.A. 

A. Binning Monro, H.R.G.A. 

(The above letter is forwarded for insertion in the 
forthcoming number of the Art-Union. But for 
anxiety that the letter should be in time for the April 
number, more signatures could have been obtained.] 

Edinburgh, March 23, 1842. 

[We have never received a communication that has 
given us greater satisfaction than the one we here pub- 
lish. We rejoice to be made the instrument of conveying 
to British Artists generally, the liberal and enlightened 
sentiments of their brethren of the north. The letter 
does them infinite honour ; and we think cannot fail 
to produce an impression upon the 44 Society,” by 
whose unwisely exclusive system it has been called 
forth. We trust we may be permitted to defend our- 
selves from the charge advanced against us— or, at 
least, implied— that we have represented the Scottish 
Artists as having been a party to this system, by en- 
deavouring to 44 induce the association to exclude from 
their purchases the works of English Artists, not resi- 
dent in Scotland.” We really cannot call to mind any 
observation of ours that can bear such construction ; 
but if we have made any remarks that convey such a 
notion, we readily and cheerfully recall them.] 

Sir,— A greeing as I do in principle with the obser- 
vations yon have appended to the letter in your last 
number, in which 44 A Member of the Art-Union of Lon- | 
don” objects to the restriction of purchases by the Edin- 


burgh Association to works of Scottish Art , it is impos- 
sible to deny that, when;tested by its success in improv- 
ing the character of our Exhibitions,that Association has 
hitherto fulfilled the end in view. The great progress 
displayed in successive years, proves that the stimulus 
of even a limited competition has, as yet , been sufficient 
among our artists. But it is obvious to all impartial 
observers, that this state of matters cannot continue, 
and that the very pica of past success becomes the 
strongest argument for opening up a competition, that 
must stimulate to further exertions. It is, therefore, 
to be hoped that your remonstrance will have its due 
weight, and that the committee will ere long turn their 
attention seriously to this very important question, 
apart from all narrow views. Indeed the time seems 
to have arrived, when the most advisable disposal of 
now vast resources of this body ought to be re-consi- 
dered, and their whole constitution reviewed. Princi- 
ples and details admirably suited for the due adminis- 
tration of some hundreds, may be questioned when 
applied to a revenue of as many thousands ; and the 
committee would do well to borrow a hint from the 
recent proceedings of the Art-Union of London, as 
noticed by your correspondent, “Vigilans,” in your 
number for this month. 

You express your conviction that, 44 no one annual 
exhibition here, ever contained good pictures by 
Scotch artists to the value of jtffiOOO or j£ 7000;” and you 
are quite correct, if 44 value ” is to be tested by the 
scale of prices paid elsewhere for similar works, exe- 
cuted by artists of equal professional repute. But it is 
a notorious fact that, as the funds of the Association 
have been annually augmented, the demands of the 
artists have advanced -, and it would seem that each of 
them, convinced of the truth of your remark, has 
resolved to do his utmost towards relieving the com- 
mittee of their unmanageable wealth, by asking an 
exorbitant quota in exchange for his own exertions. 
The plan adopted by the committee to cure this grow- 
ing evil has enormously increased it, besides introduc- 
ing a practice painful to themselves and degrading to 
the artists. That in many instances the committee 
offer a sum considerably below that demanded, 
is notorious, and it is no secret that unpleasant 
remonstrances have sometimes been the natural 
result of this most objectionable proceeding. Nor 
does the mischief cease here ; for an artist who has re- 
ceived twenty or thirty per cent, less than the price 
which he in good faith affixed to his pictuie, is in some 
degree compelled to provide against the recurrence of a 
similar disappointment, by demanding on the next 
occasion a sum proportionally higher than he means 
to realize. It is whispered, that by this means even 
more has been sometimes obtained, than was expected 
or wished ; and of course, under such a system, the 
motives of the committee are exposed to constant 
cavil. Far better would it be that the committee 
openly refuse to purchase such works as they consider 
priced above their value; but here again occurs the 
difficulty, that being, by the constitution of the Asso- 
ciation, obliged to expend annually the subscriptions, 
they would, by adopting this resolution, be thrown 
back upon pictures unworthy of purchase or encou- 
ragement. Even this, however, seems the lesser evil of 
the two, and if practised for one year, the necessity for 
this measure would probably not recur.— Yours, &c., 

Edinburgh, March 8. D. D. 

Sir,— Y ou say in your attack on the Art-Union of 
Scotland, that you will pay attention to any defence 
that may be sent you on the subject of the rule re- 
ferred to by you and your correspondent. 

Before you denounce, you should maturely consider 
the question in all its bearings ; this you do not appear 
to have done ; you seem to overlook the grand point, 
that the Scotch Art-Union is established for the 
express purpose of fostering and encouraging native 
talent; and will that be done if Irish and English 
artists come into the field ? I trow not. 

Then again, look at the wealth of England as com- 
pared with Scotland ; it is to that land we look for aid. 
And would not the object of the Art-Union, North 
Britain, be frustrated, if the selection were not confined 
to Scottish artists? The generosity of England is so 
well known and understood among us, that we shall be 
sure to gain by our plan; and I do not think we 
have anything to fear from your rather ill-natured 
attack. 

On the other hand, the English Art-Union would lose 
by confining it selection to England, for there would be 
shut out the finest, or some of the finest pictures 
produced ; and again, England will benefit by fostering 
Scottish talent. Where is a name equal on the English 
list of Painters to Wilkie? And the Art-Union of 


Scotland may be the means of bringing out another; 
indeed I think they would be delerict to their duty 
did they otherwise ; and so the wealthy men of England 
would have an opportunity, I am sure they would 
gladly avail themselves of, of enriching their cabinets 
with gems, such as a Wilkie, or a Scotch artist only 
could produce. 1 do not know what you can mean by 
warning Englishmen against the applications on the 
part of the Art-Union, North Britain ; they will sub- 
scribe with their eyes open, and you take it up as 
though some fraud were attempted. 

Neither can I discover anything narrow-minded in 
the fact of a Society being established for the encou- 
ragement of native talent , and accepting foreign aid. 

Yours, &c., Dun Scotus. 

[We insert the above letters, the one a comment 
upon, the other a reply to, our observations last month 
in reference to the illiberal and unwise principle upon 
which the Scottish Art-Union is conducted. We did 
not. indeed, expect an answer to our objections— and 
we have bad none ; for 44 Dun Scotus” leaves the mat- 
ter where he found it, and will not alter the opinion of 
a single individual as to the policy and practice of 
changing a rule alike injurious and discreditable. 

44 Dun Scotus” is not, we presume, a teleeted 
champion: for instead of aiding be most materially 
damages the party he advances to defend. It would be 
very easy, but very unprofitable, to take his arguments 
to pieces. 

The fact is, that the law of the committee of tbe 
Scottish Art-Union must be abrogated , or instead of 
augmenting their subscriptions annually, they will 
dwindle from year to year.] 


MODELS FOR TEACHING PERSPECTIVE 
DRAWING. 

Sib,— I n the last number of the Art-Union, I ob- 
serve the name of a gentleman whom you state has re- 
cently introduced models as a novel system of teaching 
perspective. Precisely the same sort of models were 
used by the late Mr. Nattes for a period of nearly fifty 
years, ending in 1819; and I have aver since then con- 
tinued the use of them in teaching practical perspec- 
tive. You may see the boxes of models at Mr. Smith’s, 
34, Marylebone-street, Piccadilly (to whom I have 
made over the furnishing of them), if you think fit to 
call ; and you will also see a very useful and ingenious 
additional set of models of buildings, dec., calculated 
to further the same object, which Mr. Smith’s nephew 
has constructed. I give you the trouble of this, that 
you may know that the system alluded to in your work 
is not new, and that certainly Mr. Nattea was tbe 
artist who first brought the use of models into notice. 
I cannot but add that you will have conduced to the 
advancement of the science of perspective by your 
mention of tbe very admirable plan of communicating 
it, as it is a most complete and effectual method of 
attaining that which otherwise must ever be found not 
only a difficult task, but really a very dry one. 

Yours, &c., 

6, Oxford Terrace, Chas. Runciman. 

Edgwa re-road, Mar. 10, 1842. 

[We have seen the models alluded to, and cannot 
agree with onr correspondent that the little paper 
models sold by Mr. Smith are 44 precisely tbe same sort” 
as those figured in our last number; for useful as they 
are, they are neither so numerous, so well made, nor so 
ingeniously contrived as Mr. Deacon’s; neither are they 
susceptible of those varied and picturesque combina- 
tions of geometrical figures into forms suggestive of ac- 
tual buildings, whicb constitute the great merit of Mr. 
Deacon’s. Our correspondent incorrectly assumes that 
tbe system advocated of teaching drawing from models 
was put forward as novel ; the writer of the articles 
alluded to, was well aware that models bad been occa- 
sionally used for years past, and more especially by 
that distinguished artist and teacher, Mr. J. D. Har- 
ding ; and ne has been gratified to find, that since tbe 
appearance of Mr. Deacon’s models, the practice of 
teaching drawing from models has become much more 
popular than before. Some teachers, who had almost 
given up tbe occasional use of models, now employ 
them more frequently; and others, who had never 
made use of them previously , now resort to this means 
of teaching elementary drawing.] 


Cork.— A letter, published in the Cork Examner , 
states that Mr. Hogan, the distinguished sculptor, is 
engaged in completing his statue of Mr. Crawford. 
44 The marble for which is said to be the most splendid 
and most transparent block that ever entered the 
Eternal City— being excavated from the first quarry at 
Carrara, and known by tbe name of Grestallo. It 
is more than 11 feet, and measures nearly 260 cubic 
palms— the largest block recollected to have been 
removed from that celebrated cave, as_ such pore 
marble runs chiefly in small pieces, and is generally 
used for bursts and cabinet figure*— always bearing an 
exorbitant price, even at Carrara.” 


T 

Wit 


1842.] THE ART-UNION. 87 

REVIEWS. 

TU Tower ; its History, Armories, and 

Antiquities. By J. Hewitt. Published by 

W. Spiers, 17, North Audley-street. 

This might be the title to a voluminous history, 
considering the importance of the subject ; but it 
is prefixed to a brief and unpretending essay upon 
arms and defensive armour, comprehending a period 
commencing with the Conquest, and terminating 
with the substitution of buff for steel in the seven- 
teenth century. The Tower is described, gun- 
founding treated of, and the contents of the Jewel 
House are enumerated; but we are most inter- 
ested in the treatise on armour, not only because 
it appertains legitimately to the category of sub- 
jects to which the artist applies himself, but because 
judicious study has been so neglected, that there 
are continually exhibited works of Art, the va- 
lue of which is depreciated by the most glaring 
anachronisms. French artists spare no pains in 
the cause of accuracy in ancient armed and civil 
costume ; and the result is, as may be expected, 
a singular fidelity to time and circumstance. 
Artists have complained of having no means of 
making themselves acquainted with the varied 
fashions of armed costume ; and we can see 
abundant reason for such complaint, even up to 
the conclusion of the first auarter of the present 
century. Before Sir S. Meyrick arranged the 
armour in the Tower, chronology was, in that 
collection, everywhere outraged; and the com- 
plaining antiquarian was offended by the most 
absurd associations. William the Conqueror 
was equipped in a suit of plate armour ; 
and even some of our latest kings, among whom 
were George I. and George II., were represented 
in like manner, armed at all points. The armour 
attributed to Henry V. was composed from suits 
of the periods of Henry VII. and Charles I. : 
John of Gaunt was accoutred as a knight of 
the time of Henry VIII. ; and the helmet given 
to Queen Elisabeth was of the reign of Edward VI. 
We could multiply instances of similar discre- 
pancies in the Tower armoury ; but enough has 
been said to show into what errors artists have 
been led who placed any reliance in its arrange- 
ment previously to the changes effected by Sir 
8. Meyrick. It has moreover been a matter of 
some difficulty for unfriended artists to obtain 
permission to sketch in the Tower ; we cannot, 
however, help thinking, that, for the sake of truth 
in historical Art, if representations were conveyed 
to the proper auarter, every facility would be af- 
forded for study and research. It is gratifying to 
observe, that this collection has of late been im- 
proved by the addition of a few of the most 
remarkable suits of armour used at the Eglintoun 
tournament. 

We have seen even the followers of the Con- 
queror painted in panoply ; the heroes of the reign 
of Edward III. have been similarly treated; as 
have also the Paladins of Tasso, Scott, and of 
almost every esteemed writer whose historic per- 
son* lived and moved before the period or our 
Richard II. Of English historical painters, West 
has, perhaps, been the most accurate in the chro- 
nology of the equipments of his armed figures ; but 
for this he was indebted to the information kindly 
afforded him by Sir Isaac Heard, rather than to 
any research of his own. There is, however, one 
remarkable error in a picture by this distinguished 
painter, * The Battle of Crecy,* now at Wind- 
sor. He has therein subscribed to a vulgar im- 
pression, by printing the Black Prince in black 
armour. There is no authority to show that this 
epithet was applied to the Prince because he wore 
black armour ; but it may have arisen from his 
surcoat and caparison, which were both sable 
when he attended tournaments in France and 
England, but in the field of battle he always wore 
a surcoat emblazoned with the arms of England. 

The defensive armour worn by the Conqueror 
and his followers was the hauberk — a cloth or 
leathern tunic covered generally with fiat rings, 
sown on horizontally and contiguously. Some- 
times this vestment was mailed with small plates 
of iron of other forms according to the taste of 
the wearer. The haubergeon was also in use at 
this period, and as well among the Saxons as the 
Normans. As mailing or covering a coat with 
maille #, or fiat rings was the only method then 
known of guarding it with iron, the difference 

between these defences existed rather in their 
fashion than in the manner of arming them. The 
head was defended by a hood overlaid with iron, 
in the manner of the hauberk to which it was at- 
tached ; and this covering was surmounted by a 
head-piece, from the front of which descended a 
bar oi metal called a natal. The legs were pro- 
tected by mailed hose, called ehauttet t which 
reaching to the top of the thigh, were covered by 
the hauberk or haubergeon. The offensive arms 
of the Norman knight consisted of the lance, at 
the end of which floated a streamer; the long 
sword and iron mace were also in use. 

From the twelfth to the fourteenth century the 
hauberk was worn with tight sleeves ; but con- 
sidering the length of the interval, the improve- 
ments were not remarkable. It was made to fit 
the figure more closely from being drawn in at the 
waist, and the feet were protected by lengthening 
the chausses ; the hood continued in use, but was 
separated from the hauberk. 

Thus was constructed the first armour used in 
England for the defence of the entire person ; and 
this we may term pure or unmixed mail, from its 
being formed entirely of the maillet already men- 
tioned. It is a common error to speak of all 
kinds of defensive armour indiscriminately as 
mail, though the meaning of the word clearly de- 
fines the kind of defence to which it ought to be 
applied. There were three fabrics of armour en- 
tirely distinct from each other ; these were mail, 
chain armour, and plate armour ; a fourth may be 
added, being the mixed armour in use during the 
long period necessary in those ages to the im- 
provement of the body defence into the ultimate 
casing of steel plates. Although the term mail 
is apjmed to most descriptions of armour consist- 
ing of rings and small lamina of metal, it can, 
however, only properly designate vestments armed 
with the former, for the latter were cut into every 
shape which fancy and caprice could suggest. To 
distinguish two of these, Sir S. Meyrick proposed 
the terms mstred and tegulated ; another kind is 
sufficiently described by the simple appellation, 
scale armour. We cannot, in an article so brief 
as this mast be, even enumerate the varieties of 
povrpoinirie , or paddings employed for the pro- 
tection of the person, as it is our object merely to 
mark the term of the prevalence of this or that 
fashion of armour (than which, we can here do no 
more), for the purpose of exhibiting to artists the 
necessity for observing that consistency which 
gives value to their works. 

No part of the knight’s harness was subject to 
so many changes as the helmet. During more 
than four centuries and a half the security of the 
head and face was an object of continued solicitude 
and experiment ; but even in its latest and most 
elaborate construction the head piece was not 
sufficient, successfully to resist a skilful assault. 
Henry II. of France, received at a tournament in 
155V, a wound through the bars of his visor which 
ultimately deprived him of life ; an accident which 
had the effect of diminishing the popularity of 
these gallant assemblies ; indeed, from about this 
period may be dated the positive decline of such 
amusements. 

As early as the commencement of the thirteenth 
century detached plates of steel were in use. The 
first of these were the elbow pieces, after which 
knee plates, called poleyns, were added, then suc- 
ceeded aillettes for the shoulders, and thus piece 
by piece the frame was encased in a suit of steel 
plates. Mixed harness, as an improvement upon 
a defence entirely of mail or chain, was worn of 
necessity only until the suit of plate was perfected. 
It cau be said to have been generally in use only 
towards the end of the thirteenth century, and to 
have prevailed during a hundred years. 

It is a curious fact, that a knight equipped for 
the tournament was encumbered with a mass of 
metal nearly equal to twice the weight he bore 
when armed for the field of battle. Defensive 
armour attained its utmost degree of perfection 
towards the end of the fourteenth century. The 
work under notice presents us as a frontispiece 
with an engraving of one of the most beautiful 
suits of armour m existence. This is the well 
known panoply in the Tower, which was made for 
Hedry VIII. It is highly ornamented; but the 
most striking part of it is the lamboyt , or steel 
plates pendent from the breast plate and garde-de- 
reins, and so forming a kind of skirt. 

The accompanying engraving (No. 1,) of this 

splendid equipment we extract from the work 
under notice. 

This suit was fabricated to commemorate the 
marriage of Henry VIII. and Katharine of Arra- 
gon; and upon various parts of it are engraved 
the devices of each — the rose and the pomegranate. 
Upon the bars of the genouillieresis engraved the 
sheaf of arrows, the device adopted by Ferdinand, 
the father of Katharine, on tne occasion of his 
conquest of Granada. The badges of Henry, the 
the portcullis, the fleur-de-lis, and the red dragon, 
are also seen in many parts of the suit ; and on 
the lamboys appear the initials 44 H. K.,” within 
a true-lover’s knot. On the croupiere of the 
horse are the same letters, similarly united by a 
knot, which also includes a love symbol formed of 
half a rose and half a pomegranate. The breast plate 
is embellished with the story of St. George, on foot, 
encountering the dragon ; and the back plate with 
that of St. Barbara. On the poitral, St. George is 
seen mounted, destroying the dragon ; and in 
another design he is accused before Dioclesian. 
The croupiere contains six subjects — St. George 
extended upon the rack ; a saint partially enclosed 
within the brazen figure of a bull filled with oil, 
whichis about to be boiled by lighting a fire beneath ; 
a female saint suffering decapitation, while in the 
background is described the retribution that 
awaits the persecutor ; another saint about to be 
decapitated ; St. Agatha led forth to be scourged : 
and St. Agatha being built up in prison. Round 
the lower parts of the horse armour appears re- 
peatedly the motto, Dieu et mon Droit ; and, in 
addition the subjects mentioned, the minor spaces 
of the equipment are filled up with arabesques, 
heraldic devices, human figures, animals, &c. 
This armour is of undoubted German fabric, and 
hat been gilded, whence a superb effect must have 
been communicated to it. Much of the tracery is 
almost lost, but this could be restored by the pro- 
cess of regilding. 

When plate armour had attained its utmost per- 
fection, the suit was composed of the following 
parts ' The helmet, being of two kinds, the war 
helmet, and that for the lists ; the gorget, cover- 
ing the neck ; the pauldrons, defending tne should- 
ders ; the rerebraces and vambraces tor the arms, 
united by the elbow plates ; the gauntlets ; the 
breast and back plates ; taces which were appended 
to the lower part of the breastplate; the garde- 
de- reins, similar pieces attached to the back plate ; 
luillet , small supernumerary plates to strengthen 
the defences of the hips and thighs ; cuisses, or 
thigh plates ; genouillieres, knee plates ; jambs for 
the legs ; and sollerets or steel shoes, to which 
were attached the spurs. The additional pieces 
for the tournament were the placcate ; a second 
breast plate ; the volante-piece, more effectually 
to secure the helmet ; the grande-garde, a piece 
of armour covering the breast and left shoulder, 
secured to the breast plate below by screws ; the 
shoulder shield, a fixed shield protecting the left 
shoulder; the garde- bras, a similar piece covering 
the left arm; the tilting gauntlet, which was a 
long gauntlet for the bndle arm ; the equipment 
for the tournament was completed by the ankle- 
guard, in addition to these supernumerary pieces. 

In the early part of the seventeenth century the 

1 integrity of tne suit was broken by the abandon- 
ment of the plates used for the defence of the feet 
and legs. The custom of wearing armour to the 
knees continued until the time of Cromwell, be- 
cause the cavalry did not until then cease to use 
the lance ; but when this weapon fell into disuse, 
tbe thigh plates were laid aside. The cavalry of 
the time of Charles II. wore the corslet, with the 
additional of shoulder and arm pieces. 

The little work before us is not only an excel- 
lent guide to the Tower armories, but it will 
supply artists with a fund of information on this 
interesting subject. The accompanying cuts ex- 
hibit some specimens of head-gear which were in 
use at periods subsequent to the reign of Edward 
III. ; for the use of these we are indebted to the 
proprietor of the work. 

Fig. 1 (No. 2) is a salade ; time of Henry VI. 2. 
Bassinet ; time of Richard II. 3. Burgonet : time 
of Henry VII. 4. Burgonet ; time of Henry VIII. 

5. Tilting helmet ; time of Elizabeth. 6. Morion ; 
time of Elizabeth. 7. Combed morion ; time of 
Elizabeth. 8. Spider helmet ; time of Henry IV. 
of France. 9. Helmet; time of Charles I. 10. 
Open helmet ; time of Charles I. 11. Barred hel- 
met; time of Charles II. 12. Pot helmet; same 


o 




88 


THE ART-UNION. 


[April, 


period. The cats of ancient and carious weapons 
which we have also, by permission, selected from 
the illustrations, give a correct idea, allowing for 
size and proportion, of the method of arming the 
infantry of earlier times. (No. 3.) 

From the importance to artists of the subject of 
this little treatise, we have noticed it at some 
length, with the hope of inducing more attention 
to armed costume in the works of those who paint 
history, and what our neighbours coll, le moyen 
aye • 


The book is compiled from official docu- 
ments in the Tower, and published by authority 
of the Board of Ordnance. Its appearance at this 
time is accidental : it was undertaken some months 
previous to the late fire, and but for that cala- 
mity, would have been published before. A sin- 
gular circumstance in connexion with the work is 
that during the week immediately preceding the 
conflagration, that portion of the matter which 
describes the Grand Storehouse, was written. For 
want of a hand-book such as this, the antique 
Fig- 1. 


contents of the Tower armories must have been 
wholly unintellicble to the masses who have visited 
them since the fees have been reduced ; and others 
deeply interested in such remains must have 
sought information in the tomes of Meyrick or 
Grose. The well directed labours of Mr. Hewitt 
have supplied a deficiency which we ourselves 
have felt ; his well arranged digest of the contents 
of the Tower armories will be useful to all who 
may desire to know more of the armour than is 
afforded in the verbal summary of a warder. 



joogle 



184 ?.] 


THE ART-UNION. 


89 


Retub General* db l’Architbcture et 
Trataux Publics. Edited by M. Cesar 
Dalt, archt. Nos. I. to XVllJ. Wkale, 
London. 

This very valuable monthly periodical, which ad- 
dresses itself to architects, engineers, and archaeo- 
logists, and is written by some of the first men In 
their respective paths, in Paris, is much less 
known in England than it deserves to be : could 
we succeed in rendering it more so, we should con- 
fer a favour, not so much on the proprietor of the 
work in question as on the public. In all matters 
of .Art, and all investigations of antiquity, our 
neighbours are at this moment most actively on the 
alert: further decoration of their beautiful capital, 
and the restoration of all their ancient buildings, 
are now dominant desires, and are displaying 
themselves universally in numerous ways. Any 
work, therefore, which will keep us au fait of 
their efforts to these ends, show us by engravings 
the prevailing character of their new buildings, 
and make ns acquainted with all fresh information 
in the various departments of Art which may there 
arise, must, we should think, be eagerly wel- 
comed, when known, by a large class of readers ; 
especially if, as in this case, it be conducted with 
liberality and talent. Each number contains 
thirty-two pages of letter-press (large 4to.), three 
detached engravings, and numerous illustrative 
wood-cuts : it is beautifully printed, and, in all 
respects, well got up. Amongst the most im- 
portant papers which the numbers already pub- 
lished contain, may be pointed out an 44 Essay on 
Byzantine Architecture,” by M. Albert Lenoir, 
the well-known architectural antiquary ; 44 on 
the Christian Architectecture of the West,” and 
the M History of Ornamental Sculpture in 
France/' both by the same author ; 44 on the 
Nimbus in Works of Middle-age Art,” by M. 
Didron, one of the most zealous and able writers 
in France ; and on the 44 Use of Bronze in Works 
of Art,” by the talented conductor of the work, 
M. Daly. In one of the last nun bers published, 
are given views and details of the facade of the 
Chateau Gaillon, erected in the year 1500 for the 
Cardinal d* Amboise. This facade, which is set up 
in the court of the Ecole des Beaux Arts, is an 
exceedingly interesting specimen of the Renais- 
sance period, displaying a curious mixture of 
Gothic and Italian forms. All the parts are given 
at large, so as to become really available to de- 
signers, and are accompanied by an ample history 
and description from the pen of M. Lenoir. We 
cordially recommend the work to our readers. 

Thb Princess Royal. W. C. Ross, A. R. A. 
Engraved by H. T. Ryall. Published by T. 
M'Lban. 

This engraving will be hereafter accounted one of 
the select portrait gems of our time. The work 
is slight and free — the lines are well defined and 
decisive without being hard, and the flesh, with 
the happiest effect of morbidezza, would seem to 
yield to the touch. The portrait is a miniature ; 
and is at once highly interesting from the expres- 
sion of intelligence given to the features. All who 
see this engraving will be immediately struck with 
the resemblance of the Princess to the illustrious 
race whence she is sprung. In the lower part of 
the face she bears a singular likeness to her royal 
mother and other female members of the family, 
while the upper parts resemble the corresponding 
features of George the Fourth. 

Portrait of the Duke of Wellington. Painted 
by H. P. Briggs, R. A. Engraved by H. T. 
Ryall. Published by Colnaghi and Puckle. 
Often as portraits of this great mau have been 
presented to the public in every popular and 
SYailable department of art, we have seen none 
more satisfactory than this. Mr. Briggs, in his 
picture, has consulted well the character of the 
Duke, as one to whom ceremony is distasteful — 
for nothing can exceed the simplicity of the 
arrangement. The nolo pingi aversions of the 
Duke seem to serve him but little, for even until 
the latest hour of his life the public will have be- 
fore them one of these pictorial bulletins. The 
back-ground is perfectly plain — but a word of that 
anon. The portrait is a half-length, and the Duke 
is standing with his arms folded, habited in a plain 
frock buttoned up to the throat ; the eyes are cast 
downward, and the entire position is a thinking 
one. The head is admirably set upon the shoulders, 


a nd seems capable of movement, the reverse of 
which is so often the case in our (as the Germans 
call it) 44 portrait-land.” The entire treatment of 
the work reminds us strongly of the unabashed 
simplicity and uncompromising style of the late 
John Jackson, R. A. There is extraordinary 
power in the head — the hair is white, but without 
flatness or insipidity, and the shadows so truly 
graduated as to disengage it entirely from the 
back-ground. The Duke's Peninsular honours 
and the glories of Waterloo are not forgotten ; 
the latter are commemorated by the medal on the 
left breast, which materially aids the earnestness 
of the whole. Of the work of the engraver it be- 
hoves us to speak distinctly : the power and ex- 
ression of mezzo-tinto engraving can never go 
eyond the effects of this plate; the figure is 
absolutely brought up to the white margin by the 
air and transparency thrown into the back-ground ; 
in short, the entire work is a combination of the 
happiest results of painting and engraving. 

The Launch of thf. Trafalgar. Drawn by 

W. Ranwell. Lithographed by T. Picken. 

Published bjr Messrs. AcKERMANNand Co. 

The size of this Lithograph is 30 inches by 21, and 
it is altogether one of the most important we have 
ever seen of its class. The point of time is the 
moment when the magnificent vessel has cleared 
the ways, and is fairly afloat. To do justice to 
such a scene as the launch of a first-rate, so near 
the metropolis, honoured by the presence of royalty, 
and touching with the talisman 44 Trafalgar” the 
chord of patriotism in the bosom of every Briton 
is an essay sufficiently daring ; but the artist has 
acquitted himself to admiration. The print derives 
considerable value from the assistance of which 
the artist had opportunities of availing himself in 
its execution, for instance, Mr. Lang, from whose 
designs, and under whose directions, the Trafalgar 
was huilt, consented to draw the vessel, whence an 
undoubted resemblance of the noble ship is as- 
sured. The view is taken from the city side of the 
river, which, as the fore- ground, is crowded with 
craft of every description ; the ship is shooting up 
the stream, and presents her broad side to the 
spectators, her main deck rising so high above all 
the surrounding vessels as to reduce them to a 
most insignificant account. The work throughout 
is so elaborate and careful as to present the appear- 
ance at first sight rather of an engraving than a 
lithograph. The print is a valuable acquisition to 
all “naval men;” and, indeed, to every Briton 
who desires to possess a worthy record of our 
44 wooden walls.” We are not acquainted with 
the artist, and know not if he has produced other 
works; but he has given evidence of ability 
bordering upon geuius in the treatment of his 
subject. 

Thf. Cottagers Sabbath ; a Poem by Samuel 

Mullen. Published by Thomas Miller, 9, 

Newgate- street. 

A most pleasant and profitable poem ; the pro- 
duction of a gracefully and happily toned mind ; 
very simple in style, and very true to nature. It 
is illustrated by 17 vignettes, well engraved by 
Mr. W. R. Smith, from the designs of H. Warren 
—an artist whose pencil would confer value upon 
any publication. We have an especial object in 
noticing it — apart from its own intrinsic merit. 
It is, we believe, the first book issued by Mr. 
Thomas Miller; who has recently commenced 
business as a publisher. He has for some years 
obtained — and steadily maintained — high reputa- 
tion as an author ; his own earlier volumes, 
of poetry, have justly, a national fame; and his 
more recent novels rank foremost among works of 
fiction of our age and country. He is better 
known as 44 the basket maker; ” for this humble 
calling he was pursuing when he first began 
to publish. We earnestly hope he will find, 
in the selling of books, equal fame, and more profit 
than in the writing of them. 

The Abbotsford Edition of the Waverley 
Novels.— Our attention has been directed, but not 
until we were closing our labours for the month, to the 
advertisement which occupies a page of the Art- 
Union. It is scarcely necessary to recommend to our 
readers the work to which it refers; it will be in all 
respects a magnificent undertaking; worthy of the 
Arts, the country and the estimable publisher whose 
name is unspeakably associated with that of Sir 
Walter Scott. He is producing the volumes on a 
scale of great liberality ; few men, indeed, have ever 

Digiti 


manifested a stronger anxiety to consider their labours 
deserving of the highest possible recompense— the 
enormous sale upon which be may calculate justifies 
such a course. We shall have more to say upon this 
subject ere long. 

TO CORRESPONDENTS. 

We have received an anonymous communication from 
Paris, upon the subject of the paintings executed by Paul 
Delaroche at the <r Ecole des Beaux Arts.” Had the 
writer not descended to personal abuse, or ill-tempered 
censures of literary men and artists— bad he even 
evinced the slightest regard for the commonest rules 
of that courtesy which Is due to nil men, as it is the 
right of every man, we should gladly have given his 
letter insertion in our journal. But much as we respect 
truth, we must regard also the mods of its expression ; 
and although truth requires no ornament, it is in our 
minds far too sacred a subject to be connected with 
vulgar passions. We are well acquainted with the 
variety of opinions upon the mediums employed by 
Paul Delaroche and other artists in their works at 
Paris. Mistakes upon this point have probably arisen, 
from the supposition that mural paintings are of ne- 
cessity executed “ al fresco nor were we unac- 
quainted with the state of the frescos in Italy ; but as 
men cannot give to plaster the durability of granite, 
or prevent the effects produced by earthquakes, and as 
it is not possible to combine in one age the advantages 
derived from the knowledge and scientific progress of 
many centuries, we are not surprised at an effect, for 
which it appears to us there is a well-acknowledged, 
adequate cause. We are, however, obliged to our cor- 
respondent for the information relative to 14 the various 
paintings on walls in churches and elsewhere at Paris 
we shall give it every becoming attention. We solicit 
contributions firom every quarter, and from all men— 
from the young artist and the experienced professor- 
men of literature and the amateur; but as we do not 
pretend to a vigilance that we cannot exercise, so are 
we also decided on not making our columns vehicles 
for prejudice or abuse. Let him write in a different 
vein, and he will not find us heedless readers. 

“Utility of Art.” — We thank W. C. S. and 
W. H. Ji. for their communications. The arguments of 
those who contend against what they term the 44 Utility 
of Art ” are so palpably absurd, as really to demand no 
serious attempt at refutation. Society is in advance of 
the propounders and supporters of such theories ; they 
have been born some centuries too late. 

Art-Union for Sculpture.— The hints and opi- 
nions of “ A Subscriber ” on this subject are not new 
to us. Much surprise has been expressed that a so- 
ciety has not been formed for the encouragement of 
Sculpture on the plan of an Art-Union. Our Sculp- 
ture consists for the most part of busts, monuments, 
&c., and we would gladly see the adoption of auy effect- 
ive means of elevating its character. We shall recur 
to this subject hereafter. 

City Medals.— A correspondent (T. M. B.) writes 
to us on the subject of the proceedings of the Corpo- 
ration of London, with respect to commemorative 
medals issued by that body, particularly alluding to 
the Exchange commemoration medal noticed in our 
last number ; in addition to which unworthy transac- 
tion, “ T. M. B.” mentions circumstances in connexion 
with the issue of a former medal (that struck on the 
occasion of Her Majesty’s visit to the City), which 
reflect deep disgrace on the greatest and wealthiest 
municipal body in the world. Of this, one of Mr. 
Wyon’s best productions, it is said only a sufficient 
number were struck for the Aldermen and Common- 
Council ; and our correspondent asks why an unlimited 
issue (to be paid for of course) was not permitted? 
Verily it were not difficult to assign reasons for such 
restriction. It is to be lamented that City affaira are 
administered by persons (“ a plague upon their bring- 
ing up ”) under a certain standard of education. 

Line Engraving.— We ore, of course, desirous of 
seeing a greater degree of encouragement bestowed 
upon this beautiful and most important branch of Art. 
and concur entirely with the spirit of the remarks of 
44 Candidus.” The use of the electrotype is much to be 
deprecated for the supply of engravings to the Sub- 
scribers of the 44 Art-Union of London but we can- 
not help thinking that it arises only from a resolution 
of temporary expediency. We shall, however, seek 
further information. 

Mezzotinto plates of all sizes are prepared to order 
by any of the houses which supply engravers with the 
line surface plate. 

An Amateur who wishes to secure “an early copy of 
the work in preparation by The Painters' Etching 
Society,” is informed there can be no doubt of their 
intention to issue copies strictly in the order in which 
they are subscribed ror. He may attain hia object by 
writing to either of the members, whose names he will 
find printed elsewhere; or if he pleases, we will for- 
ward a letter for him to their secretary. 

We fear we shall be again compelled to postpone an 
article on 44 Clay for Modelling.” We have also, in 
type, three or four “Letters irom Correspondents;” 
and several reviews of published works. 

A few copies of the Art-Union for March, with the 
sheet containing examples of wood engraving, still re- 
main with the publisher; and may be obtaiued, of 
course, without any increase of price. 

v X F- ' 

o 


90 


THE ART-UNION. 


[April, 


MILLERS SILICA COLOURS. 


In Introducing these Colours to the notice of Artists and of the Public, it will not, perhaps, be deemed obtrusive, if the Manufacturer presumes to offer a few remarks 
upon the subject, seeing that, by the application of many years’ experience, aided by numberless experiments, he has, at length, most successfully accomplished his oMect. 
in bringing back to light a long buried secret of ancient Art. 

The countless and laborious efforts that, from time to time, have been made by modern Artists, to produce Colours that might bear comparison in point of brinisncy 
and durability, with those of the Old Masters, are sufficiently known to need no further comment. It is likewise, unfortunately, but too well acknowledged how fruitless 
these efforts have been. For although, at first, their works might appear to vie successfully with the antique originals, yet when placed, a twelvemonth afterwards, by the 
side of their prototypes, how great a falling off was there I What an universal degeneracy of tint and tone ! While the ancient productions seemed as fresh and vivid as 
if they were the creations of yesterday, and appeared by their undecaying brilliancy and clearness to deride alike, the attacks of time and the feeble competition of 
modern Art. 

The injurious effects of light and atmosphere on the colours of the present day, are very clearly evidenced by the contrast of Ultramarine, which being manufactured 
on the same principle as the Colours of the Old Masters and the Silica Colours, has been erroneously supposed to have derived an accession of brilliancy m>m age. Such, 
however, is not the fact. The phenomenon of its apparently increased vividness, is the result of its simply retaining its original lustre, whilst that of tne other colours of 
the picture has invariably declined and faded. Were any one sceptical of the superiority of ancient colour, every doubt might be easily removed by a glance at the two 
pictures of Francia, recently added to the collection in the National Gallery, ana painted between three and four hundred years ago. Trie transparency and freshness of 
their tints have that time-defying character and gem-like lustre, that modem paintings seldom perhaps possess and never retain. 

In the early periods of Art, the painter, having no colourman to prepare his colours for him, was compelled to seek and compose them himself, from whatsoever 
substances were at hand, from earths and stones ; and chiefly from their use of such imperishable materials, unimpaired by chemical agency, may be inferred the great 
durability of bis productions. 

The present Silica Colours, now confidently submitted to the ordeal of public opinion, have already been severely tested by Artists of the first eminence, and by 
persons of scientific attainment, whose judgment has been unequivocally expressed in their favour; and who do not hesitate to affirm that they reveal the mystery of 


ancient painters. 


The SILICIA OIL COLOURS are prepared in col- 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of an order, for any of 
the under-mentioned tints, viz. : 

Pale and Deep Red. 


Pale and Deep Blue. 
Pale and Deep Orange. 
Pale and Deep Green. 
White and Half Tint. 


Pale and Deep Yellow. 
Pale and Deep Purple. 
Pale and Deep Brown. 
Grey and Black. 


T. MILLER, being the original preparer of this In- 
valuable Medium, has the honour of supplying 
Sir Martin Archer Sheb, President of the 
Royal Academy, 

Sir A. W. Calcott, R.A. j F. Y. Hurlstone, Esq. 

C. L. Eastlake, Esq., R.A. S. Lawrence, Esq. 


w. Ktty. Esq., it. A. 

1). Maclise, Esq., R.A, 

W. Mulrendy, Esq., R.A. 
T. Phillips, Esq., R.A. 
H.W.Pickersgill,Esq.R.A. 

II D.1 L'.„ 19 A 


.A. W. L. Leitch, Esq. 

R.A, T. Lewis, Esq. 

q., R.A. J. Lucas, Esq. 

R.A. J. Martin, Esq. 

Esq.R.A. R. M‘Innes, Esq. 


VAN EYCK’S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Modem School ; 
namely, the destructive effects of Varnishes, Oils, and 
M’guelps, as mil pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come homy, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Gian Medium in Boll lei. 

No. 1. For first and second painting. 

No. 2. For rubbing up powder colours with. 

No. 3. For third painting, finishing, and glazing. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Florentine Oil. 

Gian Medium in Powder. 

Nos. 1, 2, and 8. 

If these powders be mixed stiff upon the palette with 
a small portion of Poppy Oil, it will enable the Artist 
to lay colour, pile upon pile, and to dip his pencil in 
water or oil at pleasure. It will also dry so hard that 
it may be scraped with a knife on the following day. 

Artists are recommended to replenish their Colour 
Boxes with Colours prepared in Medium, as they will 
lie found better in every respect than those prepared 
in the ordinary oils. 

It is also requisite to remark, that while Artists 
continue to use colours as commonly prepared in oils, 
they only reap half the advantage resulting from the 
great improvement in the art— which the Media are 
acknowledged to be by upwards of one thousand Artists 
who have already tried and approved them. 

SILICA GROUND CANVASS. This Canvass, 
not being prepared in the usual metbod with common 
oils, causes all colours used on it to dry from the bot- 
tom, and not from the surface, as is now the esse, 
thereby, in the painter’s phrase, giving a light within. 

SILICA VARNISH. This varnish, not being made 
of soft gums, like the ordinary varnish, neither is it 
acted on by the atmosphere, which frequently occasions 
the effect of a thick bloom, similar to that of a plum, 
thereby entirely destroying the effect of the picture. 
All these evils are completely obviated by the use of 
the Silica Varnish. 


D. Roberts, Esq., R.A. W. J. Muller, Esq. 

J. M. W. Turner, Esq.R.A. Sir W. Newton. 

C. R. Leslie, Esq., R.A. R. P. Noble, Esq. 

H. P. Briggs, Esq., K.A. R. Noble, Esq. 

W. Collins, Esq., R.A. W. Richardson, Esq. 
W. C. Ross, Esq., R.A. J. Stark, Esq. 

E. Landseer, Esq., R.A. Miles Smith, Esq. 

C. Jones, Esq., K.A. E. B. Spalding, Esq. 

A. Cooper, Esq., R.A. F. Stone, Esq. 

S. Drummond, Esq., A. R.A. C. Stonehouse, Esq. 
J. P. Knight, Esq., AR.A. Weld Taylor, Esq. 

C. Landseer, Esq., A. R.A. F. Thrupp, Esq. 

R. Redgrave, Esq., A. R.A. R. J. Walker, Esq. 

T. Webster. Esq., A. R.A. G. R. Ward, Esq. 

W. Allen, Esq. T. Mogford, Esq. 

R. Beecliey, Esq. J. Wilson, Esq. 

W. Boxall, Esq. F. S. Cary, Esq. 


W. Bradley, Esq. 

G. Cattermole, Esq. 

C. A. Constant, Esq. 

W. Derby, Esq. 

T. Ellerby, Esq. 

G. Field, Esq. 

W. Fisher, Esq. 

W. Fisk, Esq. 

W. H. Freeman, Esq. 

J. Gilbert, Esq. 

A. Vickers, Esq. 

A. Tidy, Esq. 

H. Room, Esq. 

F. D. Broadhead, Esq. 
H. Strong, Esq. 

| L. Iluskinson, Esq. 

J. Lord, Esq. 

J. W. Child, Esq. 

J. Hall, Esq. 

C. Hancock, Esq. 

R. J. Hammerton, Esq. 
Horace Vernet, Esq. 

W. Havell, Esq. 

T. C. Holland, Esq. 
James Holmes, Esq. 

E. S. Howard, Esq. 


T. Mogford, Esq. 

J. Wilson, Esq. 

F. S. Cary, Esq. 

C. F. Williams, Esq. 

F. R. Say. Esq. 

W. R. Collett, Esq., M.P. 
W. I)yce, Esq. 

M. E. Cotman, Esq. 

W. R. B. Shaw, Esq. 

R. K. Penson, Esq. 

C. L. Reet, Esq. 

H. Gritten, Esq. 

M. Claxton, Esq. 

B. R. Faulkner, Esq. 

W. E. Winter, Esq. 

G. S. Fitch, Esq. 

H. Milling, Esq. 

J. H. Nixon, Esq. 

Colonel llawdon, M.P. 

Sir Gordon Bremer. 

Paul Delaroche, Esq. 
Bishop of Exeter. 

Dean of Peterborough. 

J. Gambardella, Esq. 

W. Pascoe, Esq. 

N. Fielding, Esq. 

H. Bright, Esq. 

K. Corboukl, Esq. 


flolines, Esq. I K. Corboukl, Esq. 

owanl, Esq. | S. Lover, Esq. 

And many other Artiste of Eminence . 


uy prepared in oils, T MILLER gladly embraces this opportunity 
resulting from the publicly expressing his grateful acknowledge- 
hicb the Media are ment8 t0 ^j 8 numerous Patrons and Friends, both 
Dnot ousan Artists * n t hi 8 countr y an d on the continent : and particu- 
eattem. larly those gentlemen, who, unsolicited, have so 

3S. This Canvass, kindly forwarded to him letters testimonial of 
etbod with common their entire approbation of the Glass Medium, 
o dry from the bot- Nor must he omit to mention (which he does from 
is is now the case, a sense of gratitude, rather than from a feeling of 
ving a light within. vanity), the presentation of a Silver Cup, by an 
ish, not being made artist of eminence, for his invention of the Silica 
arnish, neither is it Colours and Artists and the Public may be 
frequently occasions assured, that, with such a flattering stimulus to 
rto that of a plum, exertion, as the sufferages of gentlemen of first 
feet of the picture, rate talent, he is not likely to relax in those 
iated by the use of efforts, whereby he first obtained their notice and 
approbation. 

MILLER’S ARTISTS’ COLOUR MANUFACTORY, 56, LONG 


The SILICA WATER COLOURS are prepared in 
small squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colours, at 
present in use ; and can be forwarded per post to aay 
part of the country, on receipt of an order for aay 
of the under-mentioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

Pale and Deep Gray. White and Black. 

To Water-Colour and Miniature Painters. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and tor 
enabling the Artist to repeat bis touches withoat dis- 
turbing the colours already laid on, has been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has s roost 
brilliant effect, and will preserve delicate tints unin- 
jured; in durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Gian Medium in Bottles. 

No. 1. For first colonring or laying on masses of 
colour. This dries so bard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

MILLER’S SKETCHING PENCILS. 

No. 1. Black for fore ground. 

No. 2. Grey for middle distance. 

No. 8. Neutral tint for distance. 

1. The Chalks may be pointed to a very fine degree, 
by which they are capable of producing a most delicate 
outline. 

2. The Drawings will not rub off, and may be kept In 
a folio. 

8. The colonre will blend together with or without 
the nse of water, or with any other fluid. 

For those parts of the Drawing which require a deep 
shade, the paper should be slightly wetted with a 
camel’s hairbrush when the Chalk of the required shade 
is to be applied, and the colours then spread according 
to the depth required. 

DISSOLVING VIEWS. 

Colours prepared in small boxes, for painting the 
Dissolving Views, with directions for use. The same 
Colours are also applicable for painting the slide 
glasses of Magic Lanterns, and devices or ornaments 
on ground glass, in imitation of the old masters. 

MILLER’S NEW PALETTE 

Is held in the same manner as the one in general 
use, but the thumb-bole is dispensed with, thereby ob- 
viating the annoyance resulting from oil and colour 
running through upon the hand, and will doubtless en- 
tirely supersede the present one. 

T. M. has great pleasure to inform Artists that he 
has on sale all the Colours made bv G. Field, Esq., au- 
thor of “ Chromatography,” &c. Ac. 

He has also all the remaining stock of Ultrama- 
rines, manufactured by the celebrated Italian maker, 
the late G. Arzone. 

MILLER’S PREPARATION FOR CLEANING AND 
RESTORING OIL PAINTINGS, 

In small boxes complete, with directions for use. 

ACRE, LONDON. 


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1842 .] 

RICHLY ILLUSTRATED WORKS, 
PUBLISHED BY HOW AND PARSONS. 


Now publishing, in imperial 8vo., in Monthly Half* 
crown Parts, 

ENGLAND IN THE NINETEENTH 
CENTURY 5 

AN ILLUSTRATED ITINERARY, 

COMBINING VIEWS AND DESCRIPTIONS OP ALL THAT 
IS PICTURESQUE IN NATURE, WITH ALL THAT IS 
WONDROUS IN ART; 

And exhibiting England as it is, under its several 
aspects of Natural Scenery, Historic Memorials, 
and Productive Industry. 

Edited by Mr. C. Redding. 

“ The design of this work may be called a stupendous 
one. It is intended to present, as far as pen and pencil 
can accomplish it. a complete view of the present con- 
dition of England. English agriculture, and English 
manufactures, are to be brought into harmonious com- 
bination, and the picture is to be hilled up with the 
varied peculiarities of national scenery, works of Art, 
and antiquarian remains. The commencement of this 
immense undertaking is as promising as can be desired. 
Lancashire, with its cotton manufactures, is well de- 
scribed by Dr. W. C. Taylor ; and his exposition of the 
processes are aided by numerous excellent engravings. 
Due notice is also taken of natural and architectural 
beauties, and of public institutions of various descrip- 
tions. Mr. Redding (the editor of the work) has treated 
Cornwall with at least equal spirit, and his itinerary of 
that region will have for many readers the novelty and 
interest of travels in a strange country. His descrip- 
tions are also profusely illustrated ; and the whole con- 
veys a very vivid conception of Cornish scenery. There 
is a good map of each county given ; and the general 
retting- up of the work, as regards the style of engrav- 
ing, typography, and paper, deserves high praise. The 
publication has already sufficient merit to entitle it to 
public approvaL”— Morning Chronicle, March 3. 

II. 

In imperial 8vo. (uniform with “ Ireland”), containing 
Five Engravings on Steel, after drawings by D. 
M'Clise, R.A., and Fifty-eight superior Woodcuts, 
price 35s. in half-morocco, 

SKETCHES OF IRISH CHARACTER. 

By Mrs. S. C. Hall. 

A New Edition, with Additions. 

The Woodcuts embrace Scenes, Portraits, and Land- 
scapes from Nature, by the following artists 


THE ART-UNION. 


Painters. 

Engravers. 

W. H. Brooke, F.S.A. . 

. . T. Armstrong 

N. T. Crowley 

. . J. Bastin 

Geo. Cruikshank . 

. . M. A. Cook 

W. Evans, of Eton 

. . F. Delamotte 

J. Franklin .... 

. . E. Evans 

J. Gilbert .... 

. T. Gilka 

W. Harvey .... 

. . W. J. Green 

J. R. Herbert, A.R A. . 

. . J. Jackson 

D. Maclise, R.A. . 

. E. Landella 

R. Me Ian .... 

. . W. J. Linton 

Mrs. Me Ian 

. . A. J. Mason 

H. Me Manus 

. . J. Nugent 

A. Nicholl, A.R. H.A* • 

. . S. M. Slader 

G. F. Sargent 

. S. Sly 

J. C. Timbrell 

. . J. O. Smith 

J. H. Townsend 

. . J. Thompson 

C. H. Weigall . . 

. . J. Walmesley 

W. Willes .... 

. . J. Wakefield 


In imperial 8vo, with Thirty-three Engravings on Steel, 
from Paintings by Creswick, ten Maps, and 300 
Woodcuts, from drawings made expressly for this 
work, elegantly bound in cloth, price 25s. each, Vols. 
1. and II? of 

IRELAND: ITS SCENERY AND 
CHARACTER. 

By Mm. and Mrs. S. C. Hall. 

Dedicated, by permission, to his Royal Highness 
Prince Albert. 

IY. 

In 8ro., with numerous highly-finished Engravings on 
Steel and Wood, price £ 1 Is., 

THE BRITISH ANGLER'S MANUAL; 

or the 

ART OF ANGLING IN ENGLAND, SCOTLAND, 
WALES, and IRELAND. 

With some Acconnt of the principal Rivers, Lakes, 
and Trout Streams; and Instructions in Fly-fishing, 
Trolling, and Angling at the bottom, and more par- 
ticularly for the Trout. 

By T. C. Hopland, Esq. 

“ The result of 30 years experience as an angler is 
here given to the brethren of the * gentle craft.* As a 
cicerone to the veteran, and an instructor of the tyro, 
Mr. Hofiand appears to be equally competent.”— 
Spectator. 


“ This is the most comprehensive work on angling 
that has yet appeared in this country. The author is 
an artist and an angler, and his pencil illustrates the 
descriptions and instructions given in his text.”— 
Bell’s Life. 

“ The tourist can hardly have’a more elegant or agree- 
able companion.’*— Sporting Review. 

V. 

In 2 vols. small 8vo., with Illustrations by 
Georob Cruikshank, price 15s., 

CAKES AND ALE: 

TALES AND LEGENDS. 

By Douglas Jerrold, Esq. 

VI. 

In royal 8vo., with Engravings, price31s. 6d., elegantly 
bound, 

THE OLD FOREST RANGER; 

Or, WILD SPORTS on the NEILGHERRY HILLS, 
and in the GREAT WALLIAR JUNGLES. 

By Captain Walter Campbell, of Skipness. 

VII. 

In 8vo., with 11 Engravings on Steel, price 16s., 
THE SPORTING SKETCH-BOOK: 

A SERIES OF CHARACTERISTIC PAPERS, CON- 
TRIBUTED BY CRACK AUTHORITIES. 

Edited by J. W. Carleton, Esq. 

Preparing for the press, 

T he book of British ballads. I 

Edited by S. C. Hall. 

The work will include the choicest of those that have 
been gathered, with ao much industry and labour, by 

Percy, Evans, Ritson, Ellis, Scott, Jameson, 
Pilkinoton, Motherwell, and others, 

which rank among the moat popular compositions 
in the language, but which have never yet been brought 
together. The engravings are to be on wood, from 
drawings 

BY THE MOST EMINENT BRITISH 
ARTISTS; 

and it is intended to introduce an illustration upon 
every page, so that the volume may contain 

ABOVE FOUR HUNDRED EMBELLISH- 
MENTS. 

Ample scope will thus be afforded for the display of 
that genius in design, in which the Artists of Great 
Britain have been hitherto unjustly contrasted (to their 
disadvantage) with the Artists of Germany and France, 
whose works, drawn on the wood, are generally con- 
sidered of unapproachable excellence. 

The volume will be “ got up” so as to vie, in all de- 
partments, with the best productions that have been 
issued in any country. The precise form of publica- 
tion will be forthwith announced by the publishers, 

^ Messrs. How and Parsons. 

PAPIER MACHE' PICTURE FRAMES. 

A rtists, picture dealers, and 

others, are respectfully informed, that C. F. BIELE- 
FELD has formed a large collection of new and 
elegant designs for Picture Frames, in the IM- 
PROVED PAPIER MACHE'. The superiority of 
these Frames consists in their having all the effect of 
old carved work; many of the patterns represent 
exactly the finest carvings of the seventeenth century. 
The small parts are far less liable to injury than putty 
work. Papier Mach<* being a remarkably tough and 
hard substance, it never shrinks, and takes gilding 
very freely. The frames do not weigh one quarter the 
weight of others, and their price is below that usually 
charged. Many specimens are now on view at 
BI ELEFELD’S jPA PI ER MACHE' WORKS, 15, Wel- 
lington-street, North, Strand; where, also pattern 
booka may be had, price 14s., consisting of a variety 
of patterns of Picture and Glass Frames, and Window 
Cornices, already erected, and on sale. 

P OOLOO'S CHINESE CEMENT. — The 
extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at Is. 6d., 2s. 6d., 4s. 6a.. and 7s. 6d., 
by the Proprietor’s sole agents, BLOFELD and Co.. 
Cutlers and Razormakers, 6, Middle-row, Holbom ; end 
by their appointment, at the principal Chemists and 
Perfumers. BLOFELD’S London made Table Knives, 
at BLOFELD and Co.’s, 6, Middle-row, Holborn. 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• corner of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper- office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part or the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

> An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 


THE CHEAPEST MANUFACTORY FOR GILT 
AND FANCY WOOD PICTURE FRAMES. 

P GARBANATI, WORKING CARVER 
• and GILDER, 19, ST. MARTIN’S-COURT, 
St. Martin’a-lane, respectfully informs Artists, &c., 
that aslhe manufactures entirely on his premises every 
description of ORNAMENTED GILT and FANCY 
WOOD PICTURE FRAMES, he is enabled to offer 
them at such low prices that he defies competition. A 
most extensive assortment of every size Picture Frames 
kept ready. Re-gilding in all its branches in a moat 
superior manner, cheaper than by any other house in 
the trade. Estimates given free of charge. 

A large assortment of handsome ornamented swept 
Gilt Miniature Frames at 6s. each (glass included), not 
to be equalled for price and quality by any other manu- 
facturer in the kingdom. 

A list of the prices of Plate Glass, Gilt and Fancy 
Wood Picture Frames, &c., sent, pre-paid, to any part 
of the kingdom. 

H ANOVER-SQUARE, OXYDATOR 
OFFICE, 33, GEORGE-STREET.— The PA- 
TENT OXYDATOR and LAMP-GLASS PRESERVER, 
price 5s. complete, accomplishes all that is desirable in 
the table lAmp. Simple in form, scientific in princi- 
ple, and certain in action, it effects its object by giving 
from the surrounding atmosphere a large supply of 
Oxygen to the burner of the Lamp— in short, it carriea 
low-priced oils to the level of the Sperm, and raises 
Sperm to a point of excellence unattainable by other 
means. No chimney-glass can be broken where it is 
used. A lamp kept burning for free inspection. Extra 
Glasses, Is. each. Refined Table Lamp Oil, 4a. per 
gallon. The finest Sperm Oil, 9s. 

UPTON and CO., Agents for Young’s Patent.— 1 Tht 
Trade supplied. Agents wanted. 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH. MA- 
GYLP, A3PHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thsnks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on bis Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and hia predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infnngement. 

The Genuine are made of Purified Tin, have the 
words “ BROWN’S PATENT ” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 


Digitized by 


.oogle 


92 THE ART-UNION. [April, iw. 


ON SATURDAY, 30th APRIL, 

WILL BB PUBLISHED, IN ROYAL OCTAVO, 

Part I. of 

THE ABBOTSFORD EDITION 

OF THS 

WAVERLEY NOVELS, 

ILLUSTRATED BY 

UPWARDS OF TWO THOUSAND ENGRAVINGS ON STEEL AND WOOD, BY THE MOST EMINENT ARTISTS. 


The Work will appetr in Half-crown Parts, each alternate Saturday, till completed ; and, it is expected, will be comprised in about 106 Publications— if practicable, 
in 100 ; the Price, therefore, will very little, if at all, exceed that of the Edition of 1829—33, in 48 Vols., which had no more than 96 Engravings. 

Each Part will have a Landscape Engraving, or a Portrait, done on Steel in the best manner, with a profusion of Illustrations on Wood, given with a Letter-press 
of 64 pages. The prominent Scottish Scenery, drawn by Clarkson Stanfield, R.A., in 1841, expressly for this Edition. 


Extract from Editor's Noticr to Abbotsford Edition. 

This is the age of graphically illustrated Books ; and it remained to affix to these Works, so interwoven everywhere with details of historical and 
antiquarian interest, such Engraved Embellishments as, had the author himself been now alive, his personal tastes and resources would most probably 
have induced him to place before students of antiquity and lovers of Art. 

It was a favourite pursuit of Sir Walter Scott throughout life, but especially in his most active period, to collect and arrange objects of Art con- 
nected with the historical events and personages recorded and illustrated by his pen : and it cannot be doubted that a series of Engravings, representing 
the Pictorial and Antiquarian Museum at Abbotsford, would furnish the most instructive graphic commentary that the body of his writings could receive 
from any one source whatever. This collection, therefore, valuable in itself, and doubly interesting as having been made by such a hand, has now been 
studied with care, and its various curiosities faithfully copied, for the exclusive purposes of an Edition of the Waverley Novels, which is to bear the title of 

THE ABBOTSFORD EDITION. 

Fancy and ingenuity have already been largely employed on subjects drawn from these Works. The aim on the present occasion is to give them what- 
ever additional interest may be derived from the representation of what was actually in the contemplation or memory of the Author when he composed 
them. » 

Accordingly, for this Edition, the real localities of his scenes have been explored ; the real portraits of his personages have been copied ; and his sur- 
viving friends and personal admirers, as well as many public bodies and institutions, have liberally placed whatever their collections afforded at the disposal 
of the emi^|^t Artists engaged by the Proprietors. 

The embellishments of The Abbotsford Edition will exceed Two Thousand. Among the Painters whose Sketches have been em- 
ployed, may be enumerated Wilkie — Landseer— Allan— Roberts— Maclibk — Nasmyth— Lauder— Simson— Duncan— Kidd— Bonnar — 
Tayler— Sargent— and both the Harveys among the Engravers on Steel and Wood, Miller— Goodall— Horsburgh— Wilmore— Brandard 
— Richardson— Thomson— Branston — Williams — Green — Jackson— Landells — Whimper— and Smith. The prominent Scenery described in 
the Novels has been adhered to with the utmost care, by Clarkson Stanfield, U.A., who spent last Summer in its investigation. 

It is not proposed to enlarge, to any extent, the Annotations with this Edition ; but some curious additions will be found, especially as to Guy Man- 
nering, and the Bride of Lammermoor. 


principal Illuetratione of II )t first dfibe IJarts, 

COMPRISING 

WAVERLEY; OR, ’TIS SIXTY YEARS SINCE. 


HIGHLAND HILTS, from the Trith below CslHnder. 
BATTLE FIELD «< PRESTON PANS. 


TITLE. Oflber of Black Watch. 

DEDICATION to GEORGE IW Sr Wmlttr ScAtPi 

BRAID HILLS. * 

DESK it ABBOTSFORD, hi which MS. of Warerby wu found. 

SIR WALTER SCOTT’S Cll AIK UUUfrrd. 

VILLAGE U K A RISTON (Htrdldm,*.) 

KNIGHT and FRANKLIN. 

KII.DON HILLS. 

A BICKER (Grwn-Brtrkt.') 

MR WALTER SCOl'I’S HELMET, y -in -f iTii TiiiUTtit 
TITLE, far-nimile.— Air tVnltrr SrotTi fPritimP. 

COURT PRESS, tnmp. GEORGE II. 

waverley honour. 

WINDOW in the HAU AUeUfird. 

LIBRARY in WAVERLEY HONOUR. 

waverley reading. 

MIRKWOOD MERE. 

waverley listening to aunt Rachel* tales. 

Jonas CULBBRTFJ KI.D. 

BOOKSELLER mod AUTHOR. 

OLD HOUSE of GRANDTULLr. original of Tullr-Veolan. 

GARDEN, sappoacd Garde* of nine. 

JIMI nL— JwifiArf . 

LINING ROOM. 

Davie gellatly. 

BARON BRADWARDINB. 

LOCH l.UHKIG. 

SERG EANT of BLACK WATCH. 

ROBBER'S HOLD. 

ALICE BEAN LEAN. 

BRAE- M Ar'c ASTLE f 0 ^’ “ “ °* CCT<rftb « Wlteb ' 


I 


ON 9TEEL. 

HOLVROOn HOUSE and ARTHUR SEAT. 

PORTRAIT of PRINCE CHARLES EDWARD STUART. 

ON WOOD. 


TARGET and BROAD RWORD.-*4 Mo.'f;W. 

HIGH! AND BANQUET. 

SILVER CUP, that belonged to CHARLES EDWARD. 

HEAD of a BARD. 

HIGHLAND LADY. 

QUEEN MARY’S HARP, 
f EDI ARP WATERFALL. 

FALL nf GLEN QUOlCH. 

HUNTING SCENE. 

HIGHLAND WEAPONS.— Jihthjkrd. 

CHIEF, (Glengarry) the iupposed original of Ftfrut IfaClror. 
HIGHLAND RKEl.4 
EBENBZER CRUiRRHANKS. 

SCENE in the SMITHY. 

HEADS of EXAMINERS in JUSTICE ROOM. 

GUARD at DOOR of WAVER LEY’S ROOM. 

GlFiP.n OILFILLAN’S VOLUNTEERS. 

INTERIOR of HIGHLAND HOVEL. 

DOUNE CASTLE. 

STIRLING CASTLE. 

THE PRINCE ARMING WAVERLEY. 

PISTOLS worn by CHARLBS EDWARD, b 1741. 

WHITE HORSE INN. 

CHARLES EDWARD’S PC RSI?, wore by him In 1743. 

BAILIE MAC WIIKE1ILE in DISTRESS. 

PICTURE GALLERY in HOLY ROOD. 

HOUSE at DU DD1 NORTON, in which CHARLKS EDWARD slop* tW 
Night before the Battle nf Prratoonana. 

TARGET nf PRINCE CHARLES EDWARD. 

HIGHLANDER MARCHING. 

SKTON CASTLE, in the daya of Warerley. 


PORTRAIT of COLONEL GARDINER. 


TRANENT CHURCH-YARD, where the Highland Army lay »1m 
Night before the Hattie, and where Colonel Gardiner waa hnriad. 
BATTLE ..f PRESTON PANS. 

PINKIE HOUSE, the Head-quarters of CHARLES EDWARD after 
the Battle. # _ 

WEST KIRK, EDINBURGH, b the days of Warerler. 

SWORDS found on the BATTLE-FIELD nesr PRESTON PANS. 
PRESTON TOWER, near the Field of Battle. 

EDINBURGH CASTLE, from Gnuamarkot. 

LEITH, in the days of Warerley. 

CARLISLE. _ 

SCOTCH GATE, CARLISLE, la the daya of Warerley. 

STEEL P18TOL.— ^Moq/Wd. 

DERBY. 

CLIFTON. 

PENRITH. . _ 

HIGHLAND NOBLEMAN (Duke nf Perth), enf b the t its Ri sn S . 

from the Origin ml at Drummond Castle. 

WAVERLEY at the FARM HOUSE. 

ULSWATER. 

MADAM NOSEBAG. . 

CRAIG HA LI.- RATTRAY, the Glen b which Baton Brad ward me 
lar concealed. 

KACWHEEBLK in KC8TACIES. 

RING worn br CHARLES EDWARD b 1745. 

FLORA MAKING FERGUS’S WINDING SHEET. 

CARLISLE CASTLE, Fergus Maelror going to the ScsJMd. 
HIGHLAND CHIEF, (Alaadair Kuadh, ef Glengarrie), mm. 1,41, 
from the Origiaal at Inrcrri*. 

FOU NTA t S.—AUrnttfird. 

PORTRAIT of HENRY MACKENZIE. 


PUBLISHED BY ROBERT CADELL, EDINBURGH; 

AND HOULSTON & STONEMAN, 65, PATERNOSTER-BOW, LONDON. 


London i— Printed nt the office of Paimbe end Ciattom, 9, Crane Court, Fleet Street, aqd Publlehed by gow and PAaeona, 13J, Fleet Street. —April l» >***• 



THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
Ac. Ac. Ac. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 40. 


LONDON : MAY 1, 1842. 


Price 1». 


T HIS JOURNAL BEING STAMPED, CIRCULATES, POSTAGE FREE TO ALL PARTS OF TUB UNITED KINGDOM. 


R oyal commission 

v OF 

FINE ARTS, 

WHITEHALL, April 25, 1842. 

1 . 

The Commissioners appointed by the Queen for the 
purpose of inquiring first, whether, on the re-building 
of her Majesty’s Palace at Westminster, wherein her 
Parliament is wont to assemble, advantage might not 
be taken of the opportunity thereby afforded of pro- 
moting' and encouraging the Fine Arts in the United 
Kingdom; and, secondly, in what manner an object 
of so much importance might be most effectually pro- 
moted, have resolved, that it would be expedient, for 
the farthering of the objects of their inquiry, that 
means should in the first place be taken to ascertain 
whether Fresco painting might be applied with advan- 
tage to the decoration of the Houses of Parliament. 

i 

Alth ough some years must elapse before the walls of 
the new buildings can be in a fit state for paintings of 
any kind, yet, as Fresco painting has not hitherto 
been much practised in this country, and as, therefore, 
candidates for employment in that mode of painting, 
whatever their reputation or general skill may be, will 
probably find it necessary to make preparatory essays, 
her Majesty’s Commissioners think it expedient that 
the plan which they have resolved to adopt, in order 
to decide on the qualifications of such candidates, 
should be announced forthwith. With this view— 

Her Majesty's Commissioners hereby give notice— 

8 . 

That three premiums of 4300 each, three premiums 
of 4200 each, and five premiums of 4100 each, will be 
given to the artists who shall furnish cartoons which 
shall respectively be deemed worthy of one or other 
of the said premiums by judges to be appointed to de- 
cide on the relative merit of the works. 

4. 

The drawings are to be executed in chalk, or in char- 
coal, or in some similar material, but without colours. 

5 . 

The size of the drawings is to be not less than ten 
Mr more than fifteen feet in their longest dimension ; 
the figures are to be not leu than the size of life. 

fi. 

Each artist is at liberty to select his subject from 
British History, or from the works of Spenser, Sbak- 
speare, or Milton. 

7 . 

The finished drawings are to be sent in the course of 
the first week in May 1843, for Exhibition, to a place 
hereafter to be appointed. 

8 . 

Each candidate is required to put a motto or mark 
on the back of his drawing, and to send, together with 
his drawing, a sealed letter, containing his name and 
address, and having, on the outside of its cover, a 


motto or mark similar to that at the back of the draw- 
ing. The letters belonging to the drawings to which 
no premium shall have been awarded will be returned 
unopened. 

9 . 

If a drawing, for which a premium shall have been 
awarded, shall have been executed abroad, or shall have 
been begun before the publication of this notice, the 
judges appointed to decide on the relative merit of the 
works may, if they shall think fit, require the artist to 
execute in this country, and under such conditions as 
they may think necessary, an additional drawing as a 
specimen of his ability ; and in such case the premium 
awarded to such artist will not be paid unless his se- 
cond drawing shall be approved by the judges. 

10 . 

The drawings will be returned to the respective 
artists. 

11 . 

The competition will be confined to British artists. 


The judges hereafter to be appointed to decide on 
the relative merit of the works will consist partly of 
artists. 

13. 

The competition hereby invited is open to all artists, 
although it has more immediate reference to Fresco 
painting. 

14 . 

The claims of candidates for employment in other 
methods of painting, in other departments of art besides 
historical painting, and in decoration generally, will 
be duly considered. 

15 . 

Her Majesty’s Commissioners will announce at a 
future period the plan which they may adopt in order 
to decide on the merits of candidates for employment 
as oil painters and as sculptors. 


The range of choice in regard to subjects which has 
left, in paragraph 6, to the discretion of the artists, has 
reference to the present competition only, and is not to 
be understood as implying the adoption of any par- 
ticular scheme for the decoration of the Houses of 
Parliament. 

17. 

The judges to be appointed to decide on the relative 
merit of the drawings will, it is presumed, be disposed 
to mark their approbation of works which, with a just 
conception of the subject, exhibit an attention to those 
qualities which are more especially the objects of study 
in a cartoon ; namely, precision of drawing, founded on 
a knowledge of the structure of the human figure ; a 
treatment of drapery uniting the imitation of nature, 
with a reference to form, action, and composition, and 
a style of composition less dependent on chiaro-scuro 
than on effective arrangement. 

By command of the Commissioners, 

C. L. EASTLAKE, Secretary. 


T HE EIGHTH ANNUAL EXHIBITION 
of the NEW SOCIETY of PAINTERS in WATER 
COLOURS is NOW OPEN, at their Gallery, Fifty-three, 
Pall-mall. Admission, is. ; Catalogue, 6d. 

Jam kb Fahby, Sec. 

HE THIRTY-EIGHTH ANNUAL EX- 
HIBITION of the SOCIETY of PAINTERS 
in WATER COLOURS, at their GALLERY, PALL 
MALL EAST, is NOW OPEN. Open each day 
from Nine till dusk. — Admittance, One Shilling. 
Catalogue, Sixpence. 

R. Hills, Sec. 

S OCIETY of BRITISH ARTISTS. Suffolk- 
street, Pall-mall East. — The NINETEENTH 
EXHIBITION is NOW OPEN Daily, from Eight till 
Dusk. Admission, One Shilling. Subscription to the 
Conversazione, One Guinea. 

The SECOND CONVERSAZIONE will be on 
SATURDAY next, the 30th instant. 

Edward Hassbll, Sec. 

LOSING of the PRESENT EXHIBITION. 
—BRITISH INSTITUTION, PALL-MALL.— 
The GALLERY for the EXHIBITION and SALE of 
the WORKS of BRITISH ARTISTS is OPEN DAILY 
from Ten in the morning till Five in the evening, and 
will be CLOSED on SATURDAY, May the 7th.— Ad- 
mission, Is.; Catalogue, Is. 

N.B.— The GALLERY will be RE-OPENED the end 
of the Month, with the Works of the late Sir DAVID 
WILKIE, R.A., and a Selection of the Ancient Masters. 

William Barnard, Keeper. 

ROYAL MANCHESTER INSTITUTION. 

A N EXHIBITION of PICTURES, in Oil 
and Water Colours, Specimens of Sculpture and 
Casts, Architectural Designs, and Proof Impressions 
of Modern Engravings, will take place in AUGUST 
next. Works of Art intended for Exhibition to arrive 
at the Institution not later than the 25th to the 30th 
of July. 

No carriage expenses will be paid by the Institution, 
except on works irora those artists to whom the Exhi- 
tion circular has previously been forwarded. 

Artists in London are referred to Mr. Green, 14, 
Charles-street, Middlesex Hospital ; and to Mr. Cham- 
berlain, at the Suffolk-street Gallery. 

T. W. Win Stanley, Hon. Sec. 

I MPORTANT in CONNEXION with the 
FINE ARTS.— The FOREIGN and BRITISH 
GALLERY of PAINTINGS, 213, PICCADILLY (late 
Lucca Gallery), is NOW OPEN for the first time, con- 
taining a magnificent exhibition of genuine first-class 
Gallery and Cabinet Pictures, by the fallowing great 
masters :— Michael Angelo Buonarotti, 14 wonderfally 
executed Historical Paintings in distemper, upon can- 
vass, extending upwards of 90 feet. The subjects from 
the Sacred Scriptures and the beathem mythology, 
painted by order of Pope Julius the Second; Titian’s 
chef-d’oeuvre, * Joseph and Potiphar’s Wife;’ Coreg- 


Madonna della Scodella, from the Duke of Lucca’s 
gallery; with others by Claude Lorraine, Guido, Mu- 
rillo, Estevan Marc (the famed Spanish Battle Painter), 
Rubens, Schut and Segers, Paul Potter, Cuvp, Wilkie, 
West, Sir J. Reynolds, &c. : forming altogether one of 
the finest and most valuable and interesting Collections 
of Original Paintings ever brought before the British 
public.— Open daily from Eight &.ro. until duak.— Ad- 
mission is. ; Catalogues, with historical descriptions. Is. 


Digitized by 


ioogt 



THE ART-UNION. 


T he late john constable, r.a. 

A few Choice Pictures by this scarce and truly 
eminent English Landscape Painter to be disposed of. 
— For particulars apply to Mr. Templeman, Bookseller, 
248, Regent- street. 

ENLARGED AND CHEAPER EDITION. 

Now ready, with 24 Plates, fcap. 8vo., 5s., 

M axims and hints on angling, 

CHESS, SHOOTING, and OTHER MATTERS; 
also, MISERIES of FISHING. 

By Richard Pbnn, F.R.S. 

John Murray, Albemarle-street. 

FRESCO, ENCAUSTIC, and TEMPERA PAINTING. 
Just published, price 5s., A 


On Saturday, the 14th of May, will be published, No. I« 
of a NEW WEEKLY JOURNAL, entitled 

T HE ILLUSTRATED LONDON NEWS, 
Price Sixpence, Stamped, containing Thirty En- 


Preparing for immediate i 

A BEAUTIFUL and highly interesting 
work of the RECENT OPERATIONS of the 
BRITISH ARMY in AFGHANISTAN. 

Consisting of Views of the most interesting Scenery 
and Passes through which the Troops marched, with 
Figures illustrative of the memorable events which 
occurred during the Campaign, and descriptive of the 
Manners and Costumes of the Natives. By Jamks 
Atkinson, Esq., M.D., Superintending Surgeon of the 
Army of the Indus. 

Drawn on Stone by Louis Haohr, Esq., of a uni- 
form size with the beautiful work on Belgium and 
Germany, from the original and highly finished draw- 
ings executed on the spot. Price : Royal folio, £4 4s. ; 
coloured and mounted in folio, £ 10 10s. 

London: Published by H. Graves and Co., her 
Majesty’s Publishers in Ordinary, 6, Pall Mall. 

UN DER THE IMMEDIATE SUPERINTENDENCE 
OF THE COUNCIL OF THE GOVERNMENT 
SCHOOL OF DESIGN AT SOMERSET HOUSE. 

A DRAWING-BOOK; containing Elemen- 
tary Instructions in Drawing, and illustrating the 
Principles of Design as applied to Ornamental Art 
This work will be published in Numbers, and the 
Council have arranged that it should be sold at a price 
little exceeding the coat of production: so that, at tu 
as possible, it may come within the reach of all cIssmi 
of persons desirous of instruction in Drawing and the 
Art of Design. 

THE FIRST DIVISION 

Is to be devoted to elementary instruction, and will 
exhibit a course of Outline Drawing (including both j 
geometrical and free-hand drawing) and Shadowing, 
illustrated by numerous examples, as well modern as 
ancient, so as to form a complete course of instruction 
preliminary to drawing from the life. This will consist 
of Four Parts, each containing Fifteen Sheets, of Ex- 
amples and Letter-press, price 86. fid. 

THE SECOND DIVISION 
Will contain examples illustrative of the Principles of 
Design, and also Designs applicable to particular 
branches of Manufacture. It is intended that each 
Division should be accompanied by an explanation of 
the figures, and also directions as to the mode of teach- 
ing, so that the work may be used in schools, or by 
persons intending to learn without the assistance of a 
master. 

The First Part will be published on the First of 
June, and the others will follow at regular intervals of 
Two Months. 

Chapman a nd H all, 186, Strand. 

OLIVER’S PICTURESQUE SCENERY OF THE 
PYRENEES. 

Shortly will be published, 

T wenty-six views in the Pyrenees, 

drawn on the spot, in 1830. by Mr. William 
Oliver, and lithographed in the first style of Art by 
Messrs. Lewis ana Charles Haohb, Boys, BouaHi, 
&c. fee. 

These Prints are executed in the same style and are 
of the same size as the popular works on Spain, by 
Messrs. Vivian, Roberta, &c., and present a remarkable 
series of well-chosen Views of the interesting and pic- 
turesque Scenery* of a country rich in the sublime and 
beautiful, and as yet but little known to the public 
through the agency of the Arts. 

The subjects chosen from Mr. Oliver’s very extensive 
collection are as follow, viz. : 

Bartget lea Bains ; looking towards St. Saavenr let 
Bains. 

Cb&teau de Lourdes ; Hautes Pyrdnles. 

Amphitheatre of Gavamie. and Brtche de Roland. 
Cli&teau de Bean? ens, Valley of Argelez. 

Old Church of the Templars at Luz. 

Pass into Spain from Cauterets to the Baths of Ponti- 
couse. 

St. Sauveur les Bains, Valley of Barfeges. 

Lac de Gaube, near Canterets. 

Chateau and Town of Pau. Birthplace of Henry IV. 
of France. 

EauxChaudes; Basses Pyr&ifes. 

Bagn&res de Lnchon. 

Bagn&res de Bigorre, and Valley of Campan. 
Pierrefitte; Valley of Argelez. 

Cauterets. 

Chaos ; Pass of Gavarnie. 

Chateau de Coroaze; where Henry IV. of France was 
educated. 

Eaux Bonnet: Basses Pyrtndes. 

Castle and Chapel of St. Aventin, near Bsgnires de 
Luchon. 

Castle and Town of St. Beit, 
i Village of G£dre and Brtche de Roland. 

Town and Chfiteau of Foix ; formerly the residence of 
the Counts of Foix. 

Pic du Midi, from the Pam of theTonrmalet. 
Monastery of St. Savin, Valley of Argelez. 

Arles, near St. Befit. 

Town and Bishopric of St. Lizier. 

Toulouse. 

Plain copies, with tint, half-bound morocco, j£4 4s. ; 
» coloured copies, mounted on card-board, and imitat- 
> ing the original drawing, with a Portfolio. £ 10 IQs- 
i London : published by Messrs. Colnaghi and Pockle, 
1 23, Cockspur-street, where the original drawings may 

be seen. Names of Subscribers received by them, and 
by Mr. W. Oliver, 96, Charles-street, Berners-atreet. 


ablication, 


gravings every week. From Designs by eminent 
Artists, being Pictorial Representations of tne most in- 
teresting Events of the Day, in addition to Forty-eight 
Columns of News. 

Orders received by every Newsman and Bookseller 
throughout the Kingdom. Office, 320, Strand, London, 
where Advertisements, Books for Review, and all com- 
munications are requested to be addressed. 

Just published, in 4to., price £2 2s., in French boards, 
and on royal paper ; with proof impressions of the 
Plates, price £4 4 s., half morocco, gut tops, 


p R A C T I CA £ U T R E A?IS E '* on FRESCO, T^COU^ 

D IS o??hV R RO F Y S AL ^ ‘academy iTS 


the Substance of Lectures delivered in the years 1838, 
1839, and 1840. By Eugenio Latilla. 

Published by H. Herring, 9, Newman-street, and 
sold by the Artists’ Colourmen. 

Lately published, 

T h e portrait of napoleon, 

DURING THE HUNDRED DAYS. Most 
exquisitely Engraved in the Line manner, by Aristide 
Louis, from tne original Picture painted by Paul de 
la Roche. 

Proofs before Letters, all sold ; Proofs, ditto ; Prints, 
India (a few left), £\ 11s. 6d. ; Prints, Plain, £\ Is. 

London : Published by Henry Graves and Co., 
Printsellers and Publishers, by Special Appointment, 
to her Majesty, and his Royal Highness Prince Albert, 

6, Pall Mall. 

Now ready, 

T he highland drovers.— 

Engraved in the line manner by J. H. Watt, 
Esq., from the splendid original picture painted by | 
Edwin Landseer. Esq., R.A. 

Price: Prints, now ready, £3 3s. First Proofs, all sold. 
Nearly ready, 

THE HIGHLAND WHISKY STILL, 
Most exquisitely engraved in the line manner by 
Robert Graves, Esq., A.R.A., from the splendid 
original, painted by Edwin Landseer, Esq., R.A. 

Price : Prints, £2 2s. Proofs, £4 4s. Before Let- 
ters, £\ 6s. A few Artists’ Proofs, £8 8s. 

London : Published by H. Graves and Co., Printsel- 
lers and Publishers to her Majesty and H.R.H. Prince 

Albert, 1, Pall Mall. 

THE ROYAL MARRIAGE PICTURE. 

M ESSRS. HENRY GRAVES and CO., Her 
Majesty’s Printsellers and Publishers in Ordi- 
nary, have authority to announce that, by her Ma- 
jesty’s especial Permission, they have now the honour 
of exhibiting in their Gallery, 6, Pall Mall, the Grand 
Historical Picture of 

HER MAJESTY’S MARRIAGE, 

Painted by her Majesty’s command for Buckingham 


U of the ROYAL ACADEMY, by Sir Joshua 
Reynolds. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnet, F.R.S., Author of 
“ Hints on Painting,” in 4to., price £4 10s. 

James Carpenter, Old Bond-street. 

Published this day, 

F INDEN’S ROYAL GALLERY of 
BRITISH ART. 

PART IX. containing— 

OBERWESEL on [the RHINE. Painted by J. M. 
W. Turner, R.A. : engraved by J. T. Wilmore. 

OTH ELLO relating. his ADVENTURES. Painted by 
D. Cowpkr ; engraved by E. Fin den. 

The REDUCED GENTLEMAN’S DAUGHTER. 
Painted by R. Redgrave ; engraved by R. Hatfield. 

Engraved in the finest line manner from the Original 
Pictures. 

London: Published for the Proprietor, by T. G. 
March, 4, H .'mover-street ; and sold also by F. G. 
Moon, 20, Thrcadneedle street; and Ackermann and 

Co., Strand. 

Just published, in royal 4to., price £\ 5s. bound, 

R ustic architecture- 

picturesque Decorations or Rural 
Buildings in the Use of Rough Wood, Thatch, 
&c. Illustrated by Forty- two Drawings,; consisting 
of Plans, Elevations, Sections, and Perspective Views ; 
the Doors, Windows, Chimney Shafts, &c., drawn 
geometrically to a large scale; with descriptions and 
estimated costs. By T. J. Ricauti, Architect. 

“ We have repeatedly and strongly recommended this 
elegant and usefol work, and can safely say, that we 
think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardeners’ Magazine. 

James Carpenter, Old Bond-street. 

Albemarle Street, May 1842. 

WORKS ON 

ART, PAINTING, ARCHITECTURE, &c. 


ANCIENT SPANISH BALLADS: Historical 


Majesty’s Historical and Portrait Painter, and Painter 
in Ordinary. 

Any attempt at description of this grand and noble 


Picture must be very imperfect. Not only has her 
Majesty been graciously pleased to honour Mr. Hayter 
with numerous sittings, but the whole of the Royal 


A » s? 


/ajTw-, • 

I *T_V; ( l .... 

<.&»•" lit* 


with numerous sittings, but the whole of the Royal 
Family, Dignitaries of the Church, the Ladies and Officers 
of State, have all, by special desire, sat for their indi- 
vidual Portraits for this splendid National Picture (the 
private property of her Majesty) ; and which combines 
a Series of Authentic Portraits of the most illustrious 
personages of the age, and illustrates the only autho- 
rised memorial of the most interesting event 
in the reion of queen victoria. 

M essrs, henry - graves” and com- 

PANY, Printsellers to her Majesty and his 
Royal Highness Prince Albert, have the honour to 
announce that they have nearly ready for publication, 
a beautiful and highly interesting work or HADDON 
HALL, DERBYSHIRE, consisting of twenty-six of 
the most beautiful Interiors and Exteriors of this in- 
teresting Remain of the Olden Time. Drawn on the 
spot, and on Stone, by Douolas Morison, Esq. Of 
a uniform size with the work on Belgium and Ger- 
many, by LouiB Haghe. 

Messrs. Graves and Co., in announcing this work 
to the public, beg to state that it is the most complete 
Series of Views of one building they have been able to 
select for publication. Many collections of Sketches 
have been submitted to them, but wanting that artistic 
merit which would enable them to place in the hands 
of Amateurs a volume equal to those which they have 
already published from the pencils of Stanfield, Ro- 
VUeffs, Lewis, Prout, Haghe, and Miiller. 

Sixth' a Series has now offered in the admirable 
Drawings of Mr. Morison, which, for fidelity and 

S nnot be excelled ; and the publishers feel 
will not, under his experienced hands, be in- 
any of the volumes they have previously 

lime will consist of Twenty-six Plates, Ini- 
0, price £4 4s. 

>ers’ names received by Henry Graves and 
sellers and Publishers, by Special Appoint- 
er Majesty, and his Royal Highness Prince 
I. 6, Fall Mall. 


A New Edition now ready. 

II. 

CHILDE HAROLD’S PILGRIMAGE. By 

Lord Byron. A New and Beautiftilly Illustrated 
Edition, with Sixty Engraving byFinden, from Original 
Drawings made on the sjiot, by Eminent Artists. Royal 
8vo., £2 2s., or Proofs on India Paper, £3 3s. 

III. 

The MANNERS, CUSTOMS, RELIGION, 
AGRICULTURE, &c.. of the ANCIENT EGYPTIANS, 
derived from a twelve-year’s residence in that country, 
from the study of Hieroglyphics, Sculpture, Paintings, 
and other Works of Art, still existing, compared with 
the Accounts of Ancient Authors. By Sir Gardner 
Wilkinson. With 600 illustrations, 6 vols. 8vo. £66b. 

IV. 

HAND-BOOK of ITALIAN PAINTING. 
Translated from the German of Kuglbr, by a Lady; 
and edited, with Notes, by Charles Lock Eastlaee, 
R.A. Post 8vo., 12s. 

V. 

HAND-BOOK to the PUBLIC GALLERIES 
of ART in and near LONDON. By Mrs. Jambson. 
Tost 8vo., 18s. 

VI. 

ESSAY on ARCHITECTURE. By the late 
Thomas Hope, Esq. Illustrated with nearly 100 
' Plates. Third Edition, revised. 2 vols. royal 8vo., £2. 

VII. 

GOETHE’S THEORY of COLOURS. Trans- 
I lated from the German, and edited, with Notes, by 
Charles Lock Eastlake, R.A. Witn Plates. 8vo., 12s. 
Preparing for Publication. 

The LIFE of SIR DAVID WILKIE, R.A., 

1 1 is Tours in France, the Netherlands, Italy, Spain, 
Germany, Turkey, the Holy Land, and Egypt; with 
liiH Select ( respondence, and Remarks on Arts and 
Artists. By Allan Cunningham, Esq. 3 vols. 8vo. 
John Murray, Albemarle-street. 


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1842 .] 


THE ART-UNION. 


THE ART-UNION. 


LONDON, MAY 1, 1841. 


CONTENTS. 


COPYRIGHT 

CORRESPONDENCE *. 

THR SCOTTISH ART-UNION; VEHICLES; 
MODELS POR DRAWING; AN ARTIST’S 
COMPLAINT; ST. STEPHEN’S CHAPEL . 

. OBITUARY 

. THE ARTS IN CONTINENTAL STATES: 

FRANCE ; SWITZERLAND ; BAVARIA ; 

PRUSSIA; RUSSIA 

. THE ANNUAL EXHIBITIONS— 1842 : 

SOCIETY OF PAINTERS IN WATER CO- 
LOURS; NEW SOCIETY OP PAINTERS IN 
WATERCOLOURS; SOCIETY OP BRITISH 

ARTISTS 

. THE LOUVRE 

. VARIETIES ; 

ROYAL COMMISSION OP PINE ARTS; 
THE OPINIONS OP CORNELIUS; PRIZES 
AT THE BRITISH INSTITUTION ; THE 
ROYAL ACADEMY; WILKIE’S WORKS; 
ARTISTS* BENEVOLENT FUND; WOOL- 
LBTT, THE BNGRVNBR ; DECORATION 
OP THE HOUSES OP PARLIAMENT; COM- 
POSITION SEALS; PAINTERS* ETCHING 
SOCIETY; LITHOTINT IN CHANCERY; 
AFGHANISTAN ; HAYTER*8 PICTURE OF 
HER MAJESTY’S MARRIAGE; THE 

“ UNIQUE” BIBLE &C. &C. 

L ART APPLIED TO MANUFACTURES 

I. THE STRAWBERRY-HILL COLLECTION .. . 

I. THE ART-UNION OP LONDON 

. THE WORKS OP THR LATE SIR DAVID 

WILKIE 

I. REVIEW OP PUBLISHED WORKS . 


COPYRIGHT. 

The bill which Mr. Emerson Tennent has just 
brought in for extending the Copyright of De- 
signs for ornamenting articles of manufacture is 
too deeply interesting to artists and to the pub- 
lic generally, not to attract the attention of all 
who are interested in securing the rights of pro- 
perty to industry and talent on the one hand, 
and all who deem that the moral interests of 
society will be promoted by the diffusion of taste 
on the other. Often as the subject of copyright 
has been discussed, there are still many errors 
prevalent respecting its nature and importance, 
and there is none more common nor more 
flagrantly absurd, than a belief that authors and 
artists are looking for a special boon at the ex- 
pense of the rest of the community. Mr. Emer- 
son Tennent’s bill relates chiefly to designs for 
calico-printers, but it involves principles of much 
wider range; it raises the question whether a 
man has a right of property in the thoughts of 
his own mind ; whether the work of the head is 
to be thrown open to every invasion of fraud and 
plunder, while the productions of the hand are 
secured by every fence which legislative wisdom 
can devise. 

That a man’s thoughts are his own is a propo- 
sition which nobody would dream of disputing ; 
that these thoughts are of no value to the com- 
munity, while they are confined to his individual 
consciousness, is equally undeniable; the exact 
question then is, whether the production of 
thought for the benefit of society deprives the 
producer of all right of property in the results of 
his mental labour, and transfers the right to that 
host of freebooters, calling themselves free- 
traders, who love “ to reap where they have not 
sown, and to gather where they have not 
strawed.” This convenient phrase, “ free trade/’ 
has been for ages a genteel expression for open 
robbery ; the buccaneers called themselves “ free- 
traders” in the last century, and the slave dea- 


lers have adopted the same designation in the 
present. Their notion of freedom is not original ; 
ft is at least os old as the days of Cromwell. 

M I wish I were free ! I wish I were free !” 
shouted one of the Levellers at one of the tumul- 
tuous assemblies called organs of public opinion, 
i because they were craftily directed to forward 
private ends. “Free!” replied an officer, “are 
you not free to do as you please?” “Ay,” 
answered the honest politician, “ but I am not 
free to make you do as I please.” Equally ancient, 
and even more so is the notion of “ fair exchange” 
promulgated by these ingenious economists ; it is 
borrowed from the moral code of the Arabs and 
Turcomans, and may be stated in the simple 
aphorism, “ Seize all that you can grasp, and give 
nothing in return.” Their notion of property is 
also venerable for its antiquity ; when translated 
into plain English from the jargon in which it is 
disguised, we find that they simply mean to say, 

“ what’s yours is mine, and what’s mine is my 
own.” 

Let us take an instance of one of the many 
possible wrongs which may be perpetrated under 
the name of free trade. A painter has produced 
a picture in which are combined the finest sug- 
gestions of sublimity and beauty that can be de- 
rived from form and colour. The thoughts of 
years, the study of a past life, the researches of 
unwearied industry, repeated trials and repeated 
failures have been working together and breaking 
down health, spirits, and constitution before the 
glorious composition, passed from the airy no- 
thingness of ideality into embodied vitality on the 
canvass. Is this, which actually partakes more 
of the nature of creation than of fabric, a pro- 
perty recognised by law ? Is this design or this 
composition, the result of toil and suffering, and 
hopes and fears, such as none but an artist can 
appreciate, secured to the producer ? Not a bit of 
it ; he has property in the piece of canvass, but 
the entire design with all its details belongs to 
you or to me, or to anybody else who can find 
an opportunity of copying it. You are at perfect 
liberty to bribe his servants, or the officers of any 
exhibition to which it may be entrusted, to copy 
it in any way which an unscrupulous conscience 
can suggest or manual dexterity execute. You 
may engrave, lithograph, or daguerreotype ; you 
may carry off the outline on tracing paper, or 
employ some inferior artist to steal a sketch ; you 
may caricature or represent faithfully ; you may 
exhibit the subject on sign-posts and tea-boards, 
until it has wearied out the world by sheer repe- 
tition ; but you need not bestow a thought upon 
the original artist, because forsooth his right 
would interfere with the “ freedom of trade.” 
Some old philosopher has said, that “ nonsense 
will pass for wisdom when it is frequently re- 
peated ;” and it appears also, that robbery may 
be accounted honesty provided it has the same 
advantage. 

Take another instance : a calico-printer is 
anxious to raise the standard of taste in the ar- 
ticle of furniture cottons ; he actually engages 
artists of the first taste to visit Spain, and bring 
him designs from the arabesques of the Alhambra, 
and the Alcazar of Seville ; he spends large sums 
in having patterns framed from those designs, 
so as to accommodate them to the materials on 
which they are to be printed ; as nothing but a 
high price will remunerate such an outlay, he 
has these designs printed on the best cloth that 
can be made, in the finest and permanent co- 
lours that can be procured. You, gentle reader, 
may probably suppose that he will be allowed to 
reap the reward of enterprise, outlay, and public 
f spirit. No such thing ; long before he can come 
t into the market, with such a publicity as to com- 
■ mand a remunerative sale, any unscrupulous 
t rival may copy his designs without contributing 
t a fraction towards their cost, print them on in- 
’ ferior cloth with fading colours, and not only 
1 undersell the original proprietor in the market, 

- but actually ruin his entire sale, by leading pur- 

- chasers to believe that the deficiencies of the 


counterfeit extended to the original production. 
Ordinary persons might suppose that such a pro- 
ceeding was not very unlike fraud, — but the class 
of political economists, profiting by such trans- 
actions, will tell you that it is a necessary conse- 
quence of the freedom of trade ; and add, with 
more truth, that they could not get on very well 
without such a system. 

Any one who will take the trouble of wading 
through the evidence brought before the commit- 
tee of the House of Commons on the Copyright of 
Designs, will find therein an edifying code of 
morality, such as could not be surpassed if the 
banditti of the eampagna di Roma took it into 
their heads to draw up a system of ethics. The 
policy of encouraging piracy as a branch of na- 
tional industry was very eloquently recommended 
to the legislature by several worthy witnesses ; 
and, in order that their logic should correspond 
with their moral science, they assigned reasons so 
utterly inconsistent, or rather so completely con- 
tradictory, that they could supply all the Univer- 
sities of Europe with professors of self-refutation. 
But people must make mistakes when the train 
of reasoning is directed by the breeches-pocket. 

One argument, or rather semblance of argu- 
ment, is frequently urged by this sapient school 
of political economists, which they believe to be 
conclusive against the claims of authors, artists, ' 
and designers. They aver that “ there is nothing 
new under the sun,” their own nonsense not ex- 
cepted, and that consequently every composition 
of skill, talent, or genius, is but a fresh arrange- 
ment of old materials accumulated by the exer- 
cise of similar qualities of mind in past ages ; and 
hence they infer that society has a right to the 
results of which it has furnished the essential ele- 
ments. Let us try the validity of this result by 
applying it to a parallel instance. There is no 
doubt that the most skilful farmer is indebted for 
a great portion of his harvest to the agricultural 
knowledge which has been accumulated by the 
experience of past ages ; but does this give any 
right to John Nokes or Peter Styles to enter into 
his fields and carry off as many sheaves of his 
wheat as they in their wisdom believe to be a 
surplus produce obtained only through his de- 
rivative knowledge ? No doubt we are all in- 
debted to science, using the word in its proper 
sense, accumulated knowledge ; but it is the ap- 
plication of that science which gives it value, and 
every man knows that to give value is in all 
human affairs but another form of expression for 
the creation of property. The combining power 
of the artist or designer is actually as much his 
own as the superintending skill of the agricul- 
turist 

In fact, the processes by which intellectual 
property is created differ in degree rather than in 
kind from those by which material property is 
produced, and an examination of the differences 
would prove that the former has the greater 
claim to protection, inasmuch as there is more 
individuality engaged in the production. Society 
lends far less aid to the poet, painter, or designer, 
than it does to the mechanic or artisan ; and we 
should be glad to know on what principle society 
claims to take most from those to whom it gives 
least. 

Intellectual property is recognised by the laws 
of every civilized community : and strange, in- 
deed, would it be if the labour of the head should 
be refused any share of the protection accorded to 
the labour of the hands. But, at the same time, 
it is undeniable that there is a less scrupulous ob- 
servance of intellectual than of physical rights : 
and that men will not hesitate to filch ideas who 
would shudder at the notion of robbing a house 
or picking a pocket. Property, which from its 
immateriality, can be stolen through a window, 
without cutting out a plate of glass ; which can 
be carried off by the eye, without being traced or 
found upon the person ; which is beyond the ju- 
risdiction of those laws that punish by a criminal, 
and not by a civil process ; which is guarded neither 
by high moral feeling, nor the dread of moral re- 


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THE ART-UNION. 


[Mat, 


proach, enjoys but a precarious security. Are we 
therefore to declare, that the property most liable 
to be invaded is that to which the protection of 
law should ostentatiously be refused ? In other 
eases, facility of injuring valuable property has 
been set forward as a reason for investing that 
property with additional fences and securities; 
we may instance the case of forgery ; but in lite- 
rature and art the very helplessness of the pro- 
prietors is assigned as the cause why law should 
afford no aid to the maintenance of their rights. 
We have been told from our infancy, that law was 
instituted to defend the weak against the strong ; 
and now comes a school of politicians maintain- 
ing that weakness is a proper and sufficient 
ground for withholding legal protection alto- 
gether. 

The advocates of piracy very rarely condescend 
to argue the morality of the question ; like the 
slave-dealers, they assert that, because trading 
with other men's labours apd trading with other 
men's lives, has been allowed in ages of barbarism 
and ignorance, that therefore the system of wrong 
should be perpetuated, and injustice beget injus- 
tice to the end of the chapter. There is an asso- 
ciation of calico-printers to maintain piracy, as 
there was an association of merchants to support 
the slave-trade ; the arguments of both have a 
whimsical identity, and are equally remarkable 
for displaying a splendid contempt, both for 
logics and ethics. 

Thus we are told that piracy in design, though 
not justifiable on abstract principles, is benefi- 
cial to the community by keeping down the price 
of printed calicoes, just as the slave-trade was re- 
commended for supplying cheap sugar. Experi- 
ence, however, has shown us that the surest 
means of insuring a cheap supply of anything is 
by competition ; there will always be such a com- 
petition if all the calico printers be placed on 
the same level and started fairly in the same race, 
protection to design being granted as a counter- 
poise for the very light weight of conscience with 
which some of them are loaded. But excellence 
is desirable as well as cheapness ; and excellent 
designs will not be produced unless there is some 
reasonable prospect of a remunerative sale. The 
printing of the choicest patterns on the best ma- 
terials is necessary for encouraging the produc- 
tion of tasty designs ; and a restriction in the use 
of the pattern, so as to renumerate the designer, 
is simple justice to him and an injury to nobody. 

One of our philosophic wiseacres has contro- 
verted these positions. He says, “ It would be a 
scandalous grievance if every servant maid could 
not wear the same print in cotton that her mis- 
tress does in silk or muslin." In Sheridan’s farce 
of the Critic , we find that when Tilburina goes 
mad in white satin, her attendant goes mad in 
white dimity ; but it Is certainly an improvement 
to extend the connexion between maid and mis- 
tress to cases of sanity. Perhaps this learned 
arbiter elegant ia rum would condescend to draw 
up a code for regulating the relations between the 
costume of the drawing-room and that of the 
kitchen, and prepare a tariff of the substitutes for 
furs and feathers to be worn in the lower regions. 
Assuredly men must have been driven hard to 
find arguments, when they discovered it to be a 
grievance that the maid should not wear the same 
patterns as the mistress. Still this pompous 
blockhead has unwittingly directed attention to a 
fact of considerable importance to the discussion, 
the advancement of a taste for elegance and re- 
finement corresponding with the general progres- 
sion of society. This taste has become a want 
which must be gratified ; and if handsome patterns 
are not produced at home, they will be, as indeed 
they are, imported from abroad. 

France is decidedly superior to England in the 
Art of Design, and this superiority is evinced not 
only in the production of magnificent and costly, 
but also in the more chaste and simple patterns. 
How could it be otherwise? In France property 
in design is recognised and taken under the full 
protection of law. So long as July 14th, 1787, a 


decree of the royal council gave a copyright of 
fifteen years in silk tapestries, and of six years 
in patterns designed for dress and other purposes. 
The words of the decree are so remarkable, that 
we must make a short extract: — 

“The King, in Council, having caused to be 
laid before liim the representations and memorials 
of the manufacturers of Tours and Lyons respect- 
ing the attacks upon their property and the 
general interest of manufactures, by copying and 
counterfeiting designs, his Majesty recognises 
that the superiority which the silk manufacture 
of his kingdom has acquired, is principally due to 
the invention, correctness, and good taste of 
designs ; and that the emulation which animates 
the manufacturers and designers will be annilii- 
lated, if they were not assured of reaping the re- 
ward of their labours ; and that this certainty in 
accordance with the rights of property, has main- 
tained this manufacture to the present time, and 
secured for it a preference in foreign countries.” 

Compare this decree with the following open, 
deliberate, and avowed attack on intellectual 
property, contained in a petition presented to the 
House of Commons by a numerous and wealthy 
body of the manufacturers of Manchester, 
described by Mr. Thompson, of Clitheroe, as 
“ that section of the print-trade whose chief dis- 
tinction is their unscrupulous morality with re- 
gard to property in designs." Their precious 
petition sets forth, 

“ That the inventors and printers of designs 
have no just title to any further advantages than 
those they must always necessarily possess — the 
means of entering the market with a pattern before 
any other house can do so ; of being the only hold- 
ers until other houses can bring it round, and of 
being known in the trade as the originators of 
that pattern." 

The coolness with which this astounding pro- 
position is put forward is admirable. It is just 
as if Fagan’s gang had proclaimed “That the 
earners and possessors of money have no just 
title to any further advantages than those they 
must always necessarily possess; the means of 
entering the market with cash before the thieves 
can do so, of being the only holders of gold 
until artful dodgers abstract it, and of being 
known in the trade as persons capable of earning 
money.” The morality of both is alike, and if 
there be any difference it is in favour of the pick- 
pocket, for he runs some risk who steals by 
means of the hand, which is evaded by those who 
steal by means of the eye. 

But copyright is necessary even to secure the 
miserable advantages which the worshipful body 
of pirates concede to proprietors. Did they 
never hear of workmen being bribed to betray 
patterns, and of the counterfeit appearing in the 
market at the same time as the original ? Three 
months' copyright are now allowed ; and it is 
notorious, that the pirated patterns of successful 
designs are prepared so as to enter the market on 
the very day that protection expires. 

While the art of printing has made gigantic 
strides, that of pattern-drawing has actually re- 
trograded, and we are forced to depend for 
designs on the artists of Paris. We are told, in- 
deed, that designers are engaged at print-works, 
but with some few exceptions their art is treated 
os a mechanical employment and rated at weekly 
wages, and the rate of their wages is in some in- 
stances below that of the more respectable class 
of operatives. Here then is a branch of in- 
tellectual industry which we are actually banish- 
ing from the country by cruelly and unjustly 
refusing protection to its produce. “ Such,” says 
Mr. Thompson, “are the effects of inadequate 
protection. Insecurity of property produces on 
Industry and exertion the same withering effect, 
whether the spoiler be a Turkish Pacha in the 
despotic East, or an English pirate in this land of 
liberty and law.” 

Copyright, it has been said, will establish a 
monopoly; but it will do so only in the same 
sense that the possession of any property estab- 


lishes a monopoly. Are we to deprive the squire 
of his estate, because he has the monopoly of all 
the land in the parish? We should be very 
glad to ask the advocates of piracy if they are ex- 
cluded from producing new designs when they 
are prohibited from copying the inventions of 
others? They may tell us that they have neither 
the talent to devise patterns themselves nor the 
liberality to remunerate the talent of others. 
What, then, is their demand when they resist the 
establishment of a copyright in design? It is 
simply that the nation should sanction piracy for 
the purpose of giving prizes to stupidity and re- 
wards to avarice. 

We do not confine our claims for the protec- 
tion of intellectual property to copyright in de- 
signs, though we have dwelt chiefly on this branch 
of the subject, because it involves the widest and 
most pressing interests, and also because in this 
branch the policy of piracy has been openly 
avowed and defended. We have examined seria- 
tim the chief arguments, or rather apologies for 
argument which they have brought forward, and 
shown that they are not one whit better than 
palliatives of selfish injustice, which, in a case 
where their own interests were not involved, could 
not possibly have imposed upon themselves. On 
the score of morality nothing more need be said ; 
but it is necessary to make some remarks on the 
connexion between copyright and the general in- 
terests of the country. 

Production of novelty ia utterly impossible hi 
a country where a system of copying is carried on 
to a great extent. The Americans are fust be- 
ginning to discover that the reprinting of English 
works is fatal to the growth of their native litera- 
ture, and are lending an ear to the proposition for 
establishing an international copyright It is 
true that Leopold, King of the Belgians, has 
actually taken the trouble of recommending tbs 
piracy of English books to the printers of Brus- 
sels, they being already notorious for their piracy 
on French and German works. But the Belgian 
monarch stands nearly alone in this exhibition of 
public morality ; the other potentates of Europe 
have learned that an honest protection of intel- 
lectual property is necessary for the development 
of original genius and talent. 

It is utterly absurd to suppose that the English 
are naturally inferior to the French in taste and 
the Arts of Design. But it is unfortunately too 
true, that in France the taste of the people has, 
for more than a century, been sedulously culti- 
vated ; and that for half that space of time the 
property in designs has enjoyed a far greater 
amount of protection than has been yet claimed 
for it in England. 

We are of opinion that Mr. Emerson Tennent'f 
bill does not go quite far enough. The painter 
ought, as in France, to have the copyright of his 
pictures secured to him for life ; and three years b 
too small a term for some of the models which 
might be designed for casting In metal. There 
are also certain classes of printed goods, such, for 
instance, as hangings or imitations of tapestry, to 
which so short a term of protection as nine months 
is miserably inadequate. Proprietors in France 
have the option of the duration for which they 
will register a design; such a rule should also be 
established in England, and the foes for registra- 
tion should rise by a graduated scale, according 
to the extent of the protection afforded. If ma- 
nufacturers knew their own interests, they would 
combine to obtain the establishment of copyright 
instead of resisting it with so much pertinacity. 
They would see that a good pattern may become 
a valuable property, and, at the same time, cost 
less than the multitudinous variations of frippery 
trash which are now produced under the name of 
patterns. 

They complain very loudly of the caprices of 
fashion requiring a constant succession of novelty 
and variety; it would be very surprising if fashion 
were not capricious when no efforts are made to 
give patterns the stable elements of beauty and 
taste. At present the calico-printers work so 


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1842 .] 


THE ART-UNION 


97 


much by guess, that they do not calculate on more 
than one pattern in fire meeting with perfect 
success. No stronger proof could be given of the 
absence of security to all parties, arising from the 
primary injustice of refusing protection to the in- 
tellectual efforts which are made to devise a 
remedy. It is impossible to visit certain print- 
works without seeing patterns applied to materials 
for which they are utterly unsuited. We have 
seen a pattern, which was beautiful in chalis, 
rendered supremely ridiculous when transferred 
to muslin, and absolutely disgusting when exhi- 
bited on coarse calico. The relations between the 
designs and the substances on which they are to 
be employed as patterns, are never taken into 
consideration by die pirates : acting on the prin- 
ciple of the patron of kitchen-wenches, who would 
have the gowns of every servant display the same 
forms and colours as that of her mistress, we have 
witnessed several incongruities which would 
supply materials for caricature to all Europe. 
The frauds of pirates are also very injurious to 
consumers. The manufacturer, who goes to the 
expense of a superb pattern, will also incur the 
cost of fast colours and sound material ; the 
pirate will rarely do theone or the other; and thus 
a fading trashy article is foisted on the public 
under th e guise of one that is really valuable. 
This is 11 sailing under false colours” with a ven- 
geance ; and that it is by no means an uncommon 
practice the purchasers of furniture cotton have 
learned by bitter experience. 

There is a portion of the calico-printing trade 
which invents; there is another portion which 
pirates its inventions : both have appealed to the 
public ; the one for protection, the other for free 
scope in privateering. The question between 
them, when stripped of the verbiage with which it 
is encumbered, is not, after all, very difficult of 
solution. It ultimately comes to this, “ Ought 
property to be protected ?” We never have been 
disposed to argue a question of principle on the 
low grounds of political or commercial expediency ; 
but in this instance expediency, however viewed, 
supports the arguments of principle : security of 
property must ever be a stimulus to production, 
and must, therefore, give the advantages of the 
cheapness arising from competition to the con- 
sumers. 

France exports her printed articles to every 
quarter of the globe where fashion and refine- 
ment are to be found ; and she beats us in every 
market where superiority of elegance and taste is 
a more important consideration than the differ- 
ence of cost. Now, this is precisely the form of 
manufacture in which an outlay brings the 
quickest and most profitable returns. The profits 
of taste enable the French manufacturers to bear 
up against the disadvantages under which their 
country labours; they have, however, failed in 
every effort to rival our low-priced goods, or to 
compete in any branch of trade where mechani- 
cal ingenuity and dexterous manipulation are 
elements of success. 

There are many persons who are discouraged 
from supporting the just claims of the proprietors 
of designs to protection, because they believe that 
the change would affect the entire cotton and weav- 
ing trades, with all their vast and varied inte- 
rests. But the truth is, that the present staple- 
trade in cotton is very slightly connected with 
the question. Low-priced calicoes do not depend 
for sale upon their patterns ; three-fourths of our 
exported cloths would be neither diminished nor 
raised in value by the printing. In fact, the call 
for protection is raised in order to create in Eng- 
land a branch of trade which as yet can be 
scarcely said to have a sensible existence — the 
trade in which the element of taste will be of 
more importance than the element of cheapness. 
We want, that instead of being beaten by the fine 
prints of France in our own markets of London, 
we should compete with her in her market of 
Paris. 

There is no doubt that a limited extension of 
copyright will now be granted by parliament ; and 


though this will be a far less complete measure of 
justice than that for which we contend, yet we 
have no doubt that its beneficial effects will be 
sensibly felt, and that many who are now the 
opponents of a limited copyright, will be con- 
vinced of their errors by experience, and join their 
more enlightened brethren in seeking a further 
extension of protection. We know that since the 
measure has been discussed, many converts have 
been made to the rights of property, and that the 
productions of mind are more generally recog- 
nised as entitled to security than they were 
when first the question was mooted. France has 
gained the honour of being the state in which in- 
tellectual property is most sedulously guarded ; 
and we cannot better conclude these remarks, than 
by inviting the attention of our readers to the 
following tables, for which we are indebted to Mr. 
Thompson, of Clitheroe, giving the duration of 
protection extended to intellectual property in 
both countries : — 

ENGLAND. 


Nature of Property. 


Term of 
Duration. 

Additional 

Protection. 

, 38 years 

and for the Ufa 
of the author 
if be survive 
that period. 

38 years 

Ditto. 

» 

14 TMT. 

Ditto. 

and if the au- 
thor survive 14 
years longer. 

j 8 years 


• 1 yew 

It is proposed to 
protect glass 
or earthen- 
ware for three 
years, and to 
extend simi- 
larly the copy- 
right for car- 
pets and pa- 
per-hangings. 

! 1 yew 

It is proposed 
that copyright 
in designs on 
shawls. not 
printed, beet- 
tended to three 
years. 

. S months 

9 months pro- 
posed. 

S months 

9 months pro- 
posed. 


Literary Profrrtt. 

General Literature, i 
Drama, published or 
acted j 

Musical Compositions. 

Oratorios, Songs, 1 

Waltses J 

Fins Arts. 

Designs as Prints, i 
Maps, Charts, Ac. J 

Sculpture, Models, Casti 
Industrial Arts. 

Designs to be cast,i 
modelled, or embos- 
sed, or chased or en- 


Designs ditto on anyi 
other substance j 


into or printed on cer- 
tain textile fabrics, 
and also designs for 
the shape or configu- 
ration of any article, 
Ac., ribbons, Spital- 
flelds silks, Paisley 
shawls, roods figured 
in the loom or em- 
broidered, ladies' ha- 
bit-shirts, satin shoes, 

Ac > 

Designs printed upon 
linen, cotton, calico, 

and niuslia 

Designs printed on 
silk, wool, or hair, or 
any mixture of cotton, 
linen, woollen, silk, or 
bair, chalis, mouse- 
line de laine, Ac 


It is proposed that design ornamenting any 
other article, except lace, for which no copyright 
is specified in the above schedule, shall have the 
protection of twelve months.* 


* The producer of a design will do well to remember 
the absolute necessity of registering it. The act ex- 
pressly provides, “ That no person shall be entitled to 
the benefit of this act, with regard to any design in 
respect of the application thereof to ornamenting any 
article of manufacture, or any such substance, unless 
such design have, before publication thereof, been 
registered according to this act, and unless at the time 
of such registration such design have been registered 
in respect of the application thereof to such article of 
manufacture, or such substance, and unless the name 
of such person shall be registered according to this act 
as a proprietor of such design, and unless, after publi- 
cation of such design, every such article of manufac- 
ture, or such substance, to which the same shall be so 
applied, published by him, hath thereon, if the article 
of manufacture be a woven fabric for printing, at one 
end thereof, or if of any other kind or such substance 
as aforesaid, at the end or edge thereof, or other con* 


FRANCE. 


Nature of Property. 


Term of I 
Duration. 1 


Additional 

Protection. 


Litbrary Property. 
General Literature. 


Published drams, ac-i 

ted drama j 

Musical Compositions. 


engraving, Maps, V 
Charts, Plans, Ac. .. J 
Industrial Arts. 
Designs for figures,'! 
whether cast or 
worked in metal, 
wood, or any other | 

material J 

Deaigus reproduced by 't 
mechanical not artis- 
tical means, whether 1 
woven or printed on [ 
any material. J 


38 years and life of the 
author and 
spouse, with 
30 years after 
their decease 
to the heirs. 

38 year* 30 years to tbs 
| heirs. 

38 years 5 years to the 
heirs. 

38 years 30 years to the 
| heirs. 

Lira. 10 years to heirs 
I after decease. 


Lips, io years to heirs 
| after decease. 


1,S,S At the will of the 
years , m anu fac turer. 

or j 
PaapR- 
tuity. ! 


Musical pieces for the \ 

/ 

Operas, Concert Pieces, ■» 

Finb Arts. 

Sculpture, Painting A 


Compare these tables, and the cause of French 
superiority in the art of design will no longer be 
difficult to discover. 

In closing this subject — for the present, that is 
to say, for we shall be compelled to recur to it 
again and again— we desire to offer a few sug- 
gestions to the Artist. In his case, the law is to 
undergo no improvement. The cotton-printer, 
the paper-stainer, the carpet-weaver, every in- 
ferior grade of designers, indeed, is to have (need 
we say how cordially we rejoice at it) some 
advantage, though trifling. But the great creator 
of intellectual enjoyment, the great promoter of 
social and moral improvement, by the surest 
means of effecting it, the artist, in the highest 
meaning of the term, is to remain precisely where 
he was — totally without protection. His designs 
may be stolen and multiplied once or a thousand 
times, and he is denied even the right to ask for 
redress. The law gives him none. To say 
nothing of the power of copying his picture by 
engravings — line, mezzotint, aquatint, litho- 
graphy, or by any of the new processes that would 
make a monster of the Apollo — by any person 
who (i gets hold of it do we not perpetually 
meet in shops in the Strand wretched daubs which 
purport to be originals of the master, and which 
are sold openly, because there is no dread of 
punishment for the fraud or the forgery ? An 
engraving, indeed, may not he copied; let an 
imitation of one be painted on a pocket-handker- 
chief, and the copyist may be punished ; but let 
a pirate buy his way for a shilling into the Royal 
Academy Exhibition, and steal one of the almost 
divine creations of Eastlake, and he may go u scot 
free,” laughing at the just complaints of the 
painter. 

Artists must stir in this matter; must call 
upon the Legislature to do that which it ought to 
do, and we are sure would do, if the case were 
brought properly before it. 

Let the members of the Royal Academy set the 
example. 


venient place thereon, the letters “ R<*.,” together with 
such number or letter or number and letter as shall 
correspond with the date of the registration of such 
design, according to the registry of designs in that be- 
half; and snch marks may be pnt on any such article 
of manufacture, or such substance, either by making 
the same in or on the material itself of which such 
article or such substance shall consist, or by attaching 
thereto a label containing such marks.” 


I 


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98 


CORRESPONDENCE. 

THE SCOTTISH ART-UNION. 

Edinburgh, April 18, 1843. 

* venture to offer some remarks upon the 
artic les and letters which have at different times ap- 
peared in your journal, on the subject of Scotch Art 
and Artists, and on the Scottish Association. I believe 
that artists here give you credit for being a sincere 
Well-wisher to Art, and most anxious to promote its 
interests, where you can ; but they are not convinced 
that in all you have published on our Art, and on sub- 
connected with it, you have carried out your 
good intentions, but rather the reverse ; this, however, 
they attribute to the very questionable sources whence 
you seem to derive your information, as a profound 
ignorance of the sentiments of Scottish artists and of 
the real state of our Art is visible in all communica- 
tions sent to you, and in the comments made upon 
them, or it. I trust. Sir, that an amendment of this 
will secure to your paper that popularity amongst 
Scottish artists which its objects and the disposition of 
its Editor merit, and you will, I hope, pardon the 
frankness of my observations. I think that in making 
them, I exhibit myself, as I am, your sincere well- 
wisher.* 

I shall now turn to the subject of our Art-Union — 
our great Association for the promotion of the Fine 
Arts. When this Society was founded, the patronage 
of Art in Scotland had so dwindled away, that artists 
could not sell the works which they yearly exhibited, 
and our school was threatened with extinction. Our 
mobility and upper classes purchased very few pictures, 
portraits excepted, and although our middle classes 
honour themselves by purchasing to a certain extent, 
their patronage is not sufficient to support a school, 
hor can it exalt Art ; as pictures of familiar subjects 
are invariably preferred by this class of buyers. The 
prospects of Scottish Art were indeed gloomy, when 
a Scottish artist first suggested an Association for its 
promotion, which project was afterwards brought for- 
ward by a gentleman who displayed an earnest zeal in 
the cause, and became the first Secretary to the new 
Society. 

Now, Sir, under these circumstances was it strange 
that the patriotic baHd of subscribers should think only 
of their own neglected, suffering, but deserving school V 
Its salvation was their great object. The 44 committee 
system ” was adopted in preference to the 44 money 
prize system,” and any one, even slightly acquainted 
with the history of Art, must, I think, acknowledge, 
that in theory the first is greatly the better plan; I was 
its ardent supporter. I cling to it still, but I must con- 
fess that a contemplation of its practice has somewhat 
shaken my faith in its perfection. 

Your correspondent 44 D. D.” says that Art has been 
improved by the Association, this I must deny. It 
has, it is true, prevented the extinction of our school, 
as our artists have remained at home instead of seeking 
fortune elsewhere, and many of these artists being 
young men and full of talent, with years and experi- 
ence, have improved of course ; but Art, I repeat, has 
not been improved by the operations of the Association, 
there is not an artist who will not accept of any com- 
mission rather than paint for the Association. We have 
artists eminently calculated to shine in historical 
painting; but they must live, and portraiture or 
cabinet pictures offer a comparatively certain source of 

* As we have not thought it right to erase any of the 
observations contained in this letter, in reference to 
other parties, we have felt bound to retain this, ap- 
plied to us. We must, however, be permitted to offer 
a comment upon it. We have strenuously laboured to 
obtain in Scotland, Ireland, and the provinces, the 
Safest co-operation we could: our first object being 
integrity, our next ability. The gentleman who has, 
hitherto, or at least up to a recent period, acted lor us, 
we believe to have been influenced only by a sense of 
justice; and we certainly consider that he has dis- 
charged his duty with strict impartiality and sound 
judgment. We should be unjust to him, if we did not 
say so much. We are, ourselves, fully aware of the 
difficulty— not to say impossibility, of so thinking 
and so writing as to content all parties upon whose 
works observations become necessary. The critic, if 
be be actuated by generous feelings as well as just 
principles, has, often, a most irksome, and, sometimes, 
a most painful task to discharge; and he too generally 
finds that where he makes one content he makes a 
score discontent. For ourselves we have always borne 
in mind the axiom, 

41 Ten censure wrong for one who paints amiss.” 

And ever write under a conviction that, 44 if to do 
wer ^^ 8 i- easy 118 t0 know what were good t0 chapels 
would be churches, and poor men’s houses princes’ 
palaces.” v 


THE ART-UNION. 


revenue, whilst, if an artist devote his time to the pro- 
duction of a picture of a high class, he is compelled, if 
he wish to sell it, to submit to the judgments of men 
whose taste he has every reason to question— his pic- 
ture will not be hailed with the approbation which the 
attempt itself merits; on the contrary, he will be 
harassed with all manner of criticism, not the less dis- 
couraging, because often absurd ; and finally if he get 
an offer at all, it will probably be less than two-thirds 
of the price he asks. It may be urged that two-thirds 
are offered because the artist asked too much: permit 
me to enter briefly into this question of price. 

I have alluded to the state of the encouragement of 
Art when the Association was founded; prices, of 
coarse, were correspondingly low, but the committee 
in their endeavour to make their funds go far, com- 
menced with their haggling system that very year; 
they struck the first blow in this war. Next year 
prices rose, partly because the market was improved, 
and justly so, and partly as a measure of protection; 
from that time to this prices have been a source of dis- 
sension and ill-will. 

The most absurd observations have been made upon 
this subject by many people— one wiseacre, in a letter 
published in your journal, sought in Holland and 
Belgium for a scale of prices to guide us ; that letter 
was unanimously viewed by the artists of Scotland 
with the contempt it merited, and I have only noticed 
it as a glaring instance of the twaddle which has been 
written on the subject. 

A question which arises is, who are the men who 
pronounce upon the prices? The answer is, a dozen of 
gentlemen, elected nominally by the Association, but 
in reality by their dozen of predecessors; some of 
whom, it is true, love Art, some of whom know some- 
thing of it, and some of whom manifestly know nothing 
of it at all. These gentlemen exhibit their capacity for 
judging of prices by paying enormously for indifferent 
pictures, and depreciating others of real merit. Whilst 
I make this statement with regard to the committee, I 
am bound injustice to admit, that whatever be their 
motives, some artists unquestionably estimate their 
pictures at enormously high prices ; these generally 
accept whatever is offered, and their conduct may, 
perhaps, be explained by the hypothesis of 44 D. D.” 
that their price is protective. But this is very far 
indeed from being the case with all : in fact it is so 
with a very small minority, and the sweeping accusa- 
tions brought against artists in this point have been 
most unjust. 

I am one of those who think that the purchase of 
English pictures by the Association, will do much to 
settle the disputed question of prices, and without en- 
tering into any discussion as to the propriety of now 
throwing open the Association — having already ac- 
counted to you for the first adoption of the exclusive 
system— I hail the letter of the artists published in 
your last paper with much satisfaction. I cannot con- 
cur in the observations of Dwn-scotus ; but at the same 
time, I must say that I think them quite as good in 
their way on the one side, as many that have appeared 
on the other. 

Our Association, most probably, must adopt the 
“money prize system ,” that is, if better committees 
cannot be found. That of this year is by far the worst 
which we have had ; you will hardly credit the fact, 
that these gentlemen utterly abjure the commonly re- 
ceived notion that to encourage anything, the true 
system is to buy the best which the market produces 
(to adopt a vulgar way of talking). Instead of com- 
mencing with the best pictures and then working 
gradually down the scale, they generally (with a few 
exceptions doubtless) commence at the other end : 
some of the worst pictures in the exhibition being 
bought the first week ; and under the specious pretence 
of encouraging youthful genius, indifferent things are 
purchased because painted by boys I You, or any one 
who has thought on the history of Art, must at once 
see the dreary consequences of such absurd proceed- 
ings. No sooner, however, does a young man paint a 
really good picture and take a position as an artist, 
than he is abandoned by the committee : he is not then 
weighed in the scale by the progress which he has 
made, but by a comparison with men of long tried 
ability, and his picture is left on the walls unsold. I 
appeal to the Exhibition of this year in support of this 
shameful fact. 

The committee, at times, buy pictures from c harita- 
ble motives, at times, because influenced by the press- 
ing representations of friends of the artist ; frequently 
from motives which it is impossible to penetrate— merit 
in the work manifestly having nothing to do with 
them ; all this tells against the true encouragement of 


[Mat, 


Art. Some members of committee seem to supply tbs 
places of taste and judgment with crotchets and strange 
fancies : one declares himself the enemy of one kind 
of Art ; and another of some other class ; some won’t 
hear of buying water-colour drawings for instance, and 
so on. To this the artist also is exposed. It is un- 
pleasant to contemplate this state of things. 

This letter is already too long, and therefore I can- 
not venture to enter upon any speculations as to 
the cure of the evils ofwhich artists have so much rea- 
son to complain. The committee should be reduced in 
number, the secretary deprived of his vote (how be 
came to have one, and how he comes to retain it , is the 
wonder) ; a more decided expression of public opinion 
is also wanted. Unfortunately little can be hoped from 
our press; the lucubrations of our editors on the sub- 
ject of Art, having little or no weight with the intelli- 
gent. In fine, if we cannot achieve an improvement of 
the committee system, we must abandon it. We bavs 
an Association on “the money prize system,” bat 
hitherto it cannot be said to have effected any real 
good, prizes of a sufficient amount to do a great deal 
have been distributed, but these are always frittered 
away-thus, if a man gets jflOO, he buys ten str 10 pic- 
tures ; besides, under this system, there has been a 
case or two of more abominable jobbing than ever has 
taken place in the first Association. I bear, however, 
that an attempt is to be made to amend these evils. The 
greatest objection to the system is, the low state of 
judgment and taste amongst the Scottish public. There 
is, however, evidence of a growing taste ; and a probable 
result of 44 the money prize system” being adopted, 
would be the promotion of taste amongst the public, 
as prize holders would be called upon to think seriously 
of the subject in making a choice. 

Almost all that has been published, hitherto, on tba 
subject which I have been reviewing, has been against 
the artists ; they have patiently endured these attacks 
whether printed or spoken, their position has been 
one of doubt and difficulty, and a warm appreciation 
of the efforts made by their countrymen in their favour 
has often sealed their lips when they had cause to com- 
plain ; but the evils under which they labour, instead of 
diminishing, seem to increase from year to year, and 
they can no longer be borne ; something must be done 
to carry out the intentions of the subscribers to an 
Association, declared in its title to be, for the Pao- 
motion of Art— to those subscribers let the artists 
appeal. 

In these observations, I disclaim all imputations upon 
the members of the committee as individuals, as such, 

I firmly believe them to be actuated by good motives, 
according to their lights , but every one has a right to 
express his opinion of them as a committee acting for a 
powerful public body associated for a most important 
purpose, but of which purpose they have wholly lost 
•iffht. Yours, &c., 

A Scottish Artist. 

[We leave the above letter to speak for itself. It is 
needless to repeat that our columns are again at tbe 
command of any champion who will take up the gaunt- 
let. We earnestly hope the committee will not 
offence at thesecommunications; and presume, very re- 
spectfully, to entreat them to consider seriously whether 
the suggestions offered are not of great importance; 
and whether some steps ought not to be taken by 
them, even though they should go to the extent of 
sacrificing the whole of that which most of os love to 
cherish— patronage.] 

VEHICLES. 

W rax all, near Bristol, April 33rd, 1843. 

— I to complain, that in your correspondent 

J. H. M.’s comments upon the communication which 
you did me tbe honour to insert in tbe January and 
February numbers of the Art-Union, my meaning has 
been most sadly perverted, and that garbled and mis- 
quoted passages have been made to represent language 
which in its original position really appears to be 
sufficiently intelligible to ordinary capacities. Having 
nothing to lose, nor aught to gain, by tbe attempt to 
introduce for experiment the properties of an aqueous 
solution of borax in combination with oil, for painting, 

I certainly did not anticipate such blundering and un- 
civil remarks as those with which J. H. M. has con- 
cluded bis letter. Of course I deny that pigments, if 
mixed agreeably to the directions prescribed in my 
communication, can be washed off by means of water. 
Such an untoward result would at once imply the use 
of too much of the boracic solution. 

Secondly.— I deny having stated any inference of my 
own relative to the insufficiency of turpentine, having 
merely advanced a few hypothetical reasons why others 


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1848 .] THE ART-UNION. 99 


have objected to the use of turpentbu alone u a 
diluent for oil. 

In answer to the insinuation, that I had omitted to 
state in what respects water is preferable to rectified 
turpentine as a diluent for oil, 1 should say, 1st, by 
its enabling the artist “ to lay colour, pile upon pile,” 
without the liability of each successive addition to 
deviate from the precise spot upon which it might be 
placed. 3nd. From the absence of that resinous pro- 
perty which commercial rectified turpentine generally 
posse s ses. And, 3rd. From its economy. 

In reply to the question, “ does Mr. C. mean to re- 
commend the use of such substances as glass of borax, 
or borate of lead, as driers for his vehicles?” Mr. C. 
does not specifically name any driers whatsoever, but 
has left the choice of such matters to the discretion 
of the artist. 

I do object to the translation of my words, “any 
metallic oxide” into litharge t for I am strongly im- 
pressed with the idea that every salt and oxide of lead 
that is employed by artists, should be replaced, if prac- 
ticable, by some equally efficient substitutes that are 
less sensible to the chemical influence of several of the 
gasses. It may, therefore, be inferred that I do most 
respectfully disclaim any willingness to recommend “a 
vehicle whose ingredients are precisely the same as 
those of Mr. Hardy.” 

With regard to J. H. M.’s difference of opinion as to 
the theory I ventured to suggest relative to the dis- 
colouration of pigments composed of white lead and 
oil, when deprived of a free current of atmospheric 
air; 1 still maintain my own, which may be thus 
simply expressed, vix., that during the desiccation of 
oil certain gasses are generated which possess the pro- 
perty of acting specifically upon the salts and oxides of 
lead with which the oil may be combined, and that this 
specified action may alter their colour. 

Admitting the truth of J. H. M.’s very popular ex- 
periment, viz., the discolouration of paper that has been 
moistened with dilute solutions of salts of lead, when 
subjected to an atmosphere containing sulphuretted 
hydrogen gas ; I pass, with much surprise, to the con- 
cluding passages of his letter, vix., amongst other 
things tending to the purpose of rendering Mr. C.’s 
argument effective by all the meant in hit power, he has 
quoted a formidable list of eminent chemical authori- 
ties on so simple an affhir (please to attend to the 
words), me the addition of water to borax until it can 
dieeolve no more! I Adding that, “whatever benefit 
Mr. Coathupe might have intended to derive from 
those celebrated names, they clearly show that great 
chemists may be greatly mistaken in matters, respect- 
ing which ordinary folks would not have had sufficient 
ingenuity to find any difficulty whatsoever.” 

From this very shrewd remark, it might be imagined 
that I have aspired to the reputation of being con- 
sidered a “nostrum monger,” and that ambitidh, or 
avarice, has urged me to attempt to prove some extra- 
ordinary fallacy. 

Now, the real truth is simply this— the whole of my 
former communication consisted of suppositions 
derived from data fwmithed by artittt — of experiments 
emanating from such suppositions— of a recommenda- 
tion to artists to test the qualities of an innocuous 
volatile diluent for oil, as a substitute for turpentine 
(or in conjunction with it, if they pleased), and so for 
only as it might appear available for specific, or for 
ordinary purposes ; of & very full descriptive account of 
the substance borax, which had been recommended to 
the notice of artists under a variety of modifications, 
through the pages of the Art-Union, and finally, of a 
few chemical investigations of the properties of some 
of the compound vehicles for pigments that had been 
publicly advertized. Regretting that so much time 
should have been so uselessly bestowed, 

I am, yours, fee., 

C. Thornton Coathupb. 


MODELS FOR DRAWING. 

34, Marylebone-street, Piccadilly. 

8ia, — Seeing in your estimable publication of last 
month, some observations respecting a set of drawing 
perspective models that 1 have prepared for some years 
for Mr. Runciman, which are calculated in some mea- 
sure to iqjure their utility and sale, and trusting to 
your known impartiality, I ask as a favour to correct a 
mistake regarding their description. 

You call them “little paper models,” which, with 
other remarks, may impress the public with the 
notion that they are mere common-place children’s 
toys, when they really have higher pretensions, and 
the same object in view as those mentioned by you, 
although quite distinct in form. Now, I beg to assure 


you that they are not paper, but geometrical cubes of 
solid wood, covered with white paper for the purpose 
of illustrating more distinctly the degrees of shadow 
of those parts opposed to the light, than the dark yel- 
low wood. The separate pieces are, I think, as large 
and as capable of the same number of variations ; as the 
accompanying few diagrams will, I hope, convince you. 

I remain, Yours, fee.. 

Jambs Shade. 

AN ARTIST’S COMPLAINT. 

Si r,— As an artist, however humble, I think I have 
a right to complain of uncourteous and unfair treat- 
ment on the part of a brother artist. It would be 
equally unwise and unjust in me to complain of cen- 
sure, when it comes from a quarter justified in apply- 
ing it and entitled to respect. Censure, when gene- 
rously given, is often more useful to the young artist 
than praise. But the authority from whence it pro- 
ceeds should be above suspicion of impure motives. 

I enclose you a copy of a weekly publication, entitled 
“ Punch,” and I ask you to say if the remarks are 
justifiable. From what I, in common with other artists, 
know of your right and generous feelings, 1 am sure 
you will condemn these observations, the more when 

1 tell you they art written by Mr. -, a member of 

the Society of British Artists. I hare, of course, au- 
thority, from persons who know the fact , for making 
this statement. Yours, Ac., 

T. K. Person, Member of the New Society 
of Painters in Water Colours. 

[We consider it our duty to insert the above letter ; 
the complaint is perfectly justifiable. If an artist goes 
out of his way to wound the feelings or prejudice the 
interests of a brother artist, he does that which ought 
to be severely condemned. It is not his butinett to 
review an exhibition ; and we can scarcely conceive it 
possible that it can be a pleasure to him to do so. 
Sure we are that it is by no means a pleasant task to 
ourselves. We believe that occurrences of this kind 
are very rare.] 

ST. STEPHEN’S CHAPEL, WESTMINSTER. 

Sir,— It must be known to many readers of your 
journal, that soon after the lamentable destruction of 
the Houses of Parliament by fire, many drawings were 
made of the ruins, and particularly of this famed 
chapel. Messrs. Britton snd Brayley published a very 
interesting volume on the history and architecture of 
the ancient palace ; and Mr. Mackenzie was employed 
by the Commissioners of Woods and Forests, to make 
a series of elaborate drawings of the chapel. It is re- 
ported amongst artists, that these are given out for 
engraving, and that they are placed in the hands of 
inferior engravers, whereby the drawings, the architec- 
ture, and the first class of artists will all be depreciated 
in public estimation. Coming from a wealthy Govern- 
ment office, the works should be of the highest order, 
worthy of the subject, the country, and its artists I I 
think it your duty to direct public attention to the sub- 
ject. Yours, fee., A. B. 

LITHOGRAPHIC ART-UNION. 

Sir,— I t is proposed to establish a Society upon the 
principle of the Art-Union of London, to be called 
the “ Lithographic Society, 1 * with the twofold object 
of encouraging the efforts of British artists in Litho- 
graphy, and also of promoting a general love of Art, 
by a wide circulation of some of the best productions 
in this very beautiful and effective branch of engraving. 

The plan suggested would be, to form a Society con- 
sisting of members paying an annual subscription of 
half-a-guinea and upwards, and to appropriate the 
foods thus raised to the purchatc of copies of the best 
works in Lithography executed in this country ; such, 
for example, as David Roberts’s * Palestine,’ Nash’s 
* Mansions of England,’ Mailer’s * Francis the First,’ 
fee. fee. ; such works to be drawn for once in every 
yehrby members as prixet ; and also to set apart a 
portion of the funds for the purpose of having two or 
more drawings executed in each year, in the best style 
of Lithography, copies of which should be dittributed 
gratit to each member of the Society. 

Any persons who may wish to assist in forming and 
establishing such a Society as is above suggested are 
requested to communicate (by letter, postage free) 
with M. A., Post-office, St. Albans. 

Yours, M. A. 


OBITUARY. 

MR. JOSEPH THBAK8TON. 

Mr. Joseph Theakston, the sculptor, died, at his 
house in Belgrave-place, on Thursday, the 14th April, 
aged 69 years. He was the last of the scholars of the 
elder Bacon, and formed his style on the amenities of 
that eminent artist. He was several years under the 
more eminent Flaxman, wrought in the studio of Bailey, 
and for the last twenty-four years of his life was in 
the employment of Sir Francis Chantrey, and carved 
most of the draperies, fee., of that artist’s statues and 
groups. He was, perhaps, the ablest drapery and or- 
namental carver of his time, as he was certainly the 
most rapid. To look at him while working, which 
visitors loved to do, his hand seemed scarcely to move ; 
and few could imagine the rapidity of his execution 
from his quiet manner of handling his tools. This 
proceeded mainly from his great knowledge of all the 
varieties of drapery, and from a sense of perfect ease 
and flowing nature of the draperies of Chantrey. When 
he began to carve a statue, he knew perfectly well what 
was required of him, and cut away the superfluous 
marble at once. He had not to try again and again, 
like most other artists, and by frequent touching and 
retouching accomplish his object. While seeming to 
work least be was working most ; and so well did his 
sleight of hand assist his knowledge and taste, that he 
may be said never to have struck the chisel with the 
hammer in vain. Besides aiding in the works of 
others, he produced several original works of his own, 
and he had more than common skill in Gothic archi- 
tecture. He was bom in the city of York, of respect- 
able parentage ; was by nature gentle and affectionate, 
yet firm, as most calm hearts are. He was buried, by 
the side of his wife, at Kensall-green. These words 
(which we borrow from the Timet newspaper) are 
written by one who knew his worth as a man and Us 
merits as an artist, and respected both. 

GEORGE BARRBTT, ESO. 

The Arts have sustained a severe loss by the 
death of this excellent artist and estimable gentle- 
man, who has so ably contributed to their advance- 
ment both with the pencil and the pen. He was 
one of the oldest members of the Society of 
Painters in Water-colours; and their present 
exhibition contains ample proof that his great 
powers continued unimpaired to the last. 

We shall next month be in a condition to supply 
our readers with that which they will ardently 
desire to possess — some particulars of his life, ana 
his interesting and valuable career as an artist. 

[We take this opportunity of requesting the 
kindness and courtesy of correspondents in refer- 
ence to memoirs of deceased artists, or of persons 
connected with the Arts. In us it would be in- 
delicate to make early applications to relatives ; 
but others can do it for us ; and it is scarcely 
necessary to say that by so doing they might very 
essentially aid us in a most important part of our 
duty.] 

Madame Vigde Lebrun, a paintress of history 
and portraits, member of the Ancient Academy of 
Painting in France, and of almost every academy 
in Europe, died in Paris on the 31st of March, at 
the age of eighty-seven. 

The distinguished archeologist, M. Neston 
I’Hote, is dead. He had made two journeys in 
Egypt, under the auspices of the Minister for 
Public Instruction. He has left most important 
notes on Egypt, drawings of its monuments, and 
impressions of hyeroglyjmics. A commission has 
been named, to superintend the publication of 
these researches, in as complete a manner as 
those of M. Champollion. 

THE ARTS IN CONTINENTAL STATES. 


FRANCE. — Paris. — Statue qf Silver qf Louie 
XIJL — It is said, that the Due de Luynes has 
given a commission to M. Rudde, the sculptor, 
to model a statue of Louis XIII., to be cast in 
silver, and placed in the hall of Louis XIII., 
which was painted by M. Ingres. It is to be 
cast by M. Louis Richard ; the pedestal is to be oi 
bronze ; and it is said will cost 15,000 fr. ; the 
statue itself, 40,000 fr. It was M. Louis Richard 
who cast the gates for the church of the Madaleine. 

The Monument qf Napoleon . — The Mettager 
an official journal, announces that the Minis- 
ter of the Interior has awarded a gold medal 
of the intrinsic value of 1000 fr. (£40) , to eacl 
of the ten artists whose plans were most highly 
approved by the committee of judges of the tonal 


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THE ART-UNION. 


of Napoleon. These medals are now being coined 
at the mint. M. Visconti is finally entrusted by 
Government with the erection of the monument, 
with the limitation, that his plan be consistent 
with the last programme issued by the committee. 
M. Marochetti has at the same time received the 
official order from Government, to erect an 
equestrian statue of Napoleon in the middle of 
the Cour d*Honneur at the Hotel dee Invalidee . 
The artists who are to receive the prizes are, 
1. fialtard, 2. Due, 3. Duban, 4. Labrouste, 
5. Lassus, 6. Isabelle, 7. Deligny, 8. Gayrad, 
9. Triquetti, 10. Danjoi. It is said, that the 
commission has met again to-day, (April 4th) , to 
decide on giving a medal to six other artists, who 
were competitors ; another on dit denies this. 

Ecole dee Beaux Arte . — Competition for 
Prizee . — The students who are to compete for 
the great prizes of 1842, at the Ecole dee Beaux 
Arte, commence their works in the following 
order: — The engravers take their places on the 
15th of May, and remain ninety days; the 
sculptors on the 10th of June, and remain seventy- 
two days ; the architects on the 10th of May, and 
they will remain one hundred and five days ; the 
painters on the 1st of June, and will remain 
seventy-two days. 

Avignon. — Picture ordered by Government. 
— The Minister of the Interior has ordered a 
large historical picture, from a young artist of 
much merit, M. Jules Varnier. The picture is 
intended to adorn the town house of the town of 
Orange, and the mayor of Orange chose the 
subject, which is very happily selected, recalling 
a scene honourable to his fellow citizens, namely, 

4 The National Guard of Orange putting a stop 
to the Massacres at Avignon during the Reign 
of Terror. 4 

SWITZERLAND.— The Artiete qf Untbr- 
waldkn. — I t is remarkable how many artists 
this canton has produced. Perhaps it is the 
loveliness and grandeur of the scenes amidst 
which they live, that refine the taste of the in- 
habitants and inspire a love of the beautiful. 
This is seen in their churches, in their houses, 
in the picturesque dresses of the women, and even 
in the tasteful arrangements of their festive 
meetings. Unlike his neighbour, the Bernese, 
who follows the plough over a heavy soil, the 
peasant of Unterwalden pursues the lighter 
labours of the orchard, or the care of his cattle, 
for which the soil is best adapted. He seldom 
becomes as rich as a Bernese, but his life is more 
easy, his temper is cheerful and serene. The 
churches of Stanz, Sachseln, and Alpnach, are 
adorned with columns of the beautiful black 
marble, from the quarries of Stanz and Melchthal ; 
and with a good taste, that does honour alike to 
the architect and the inhabitants. 

In these romantic and solitary valleys, dwell 
and have dwelt sculptors and painters of no small 
talent. Towards the close of last century, the 
sculptor Jost practised his art, with little aid but 
from his native genius; and of the existence of 
this last, the works he has left offer abundant 
proofs. He never quitted his native valley, and 
the artist could leave no patrimony to his son 
but having taught him the art of making cruci- 
fixes. 

Jost’s countryman, Christen, was more fortu- 
nate. A benevolent Swiss sent him to study at 
Rome, and he went afterwards to Munich, and 
then returned to Switzerland, where he has left 
many busts of distinguished persons. At Kerns, 
in Upper Unterwalden, old Abart still lives, but 
his statues in wood of Nicolas von der Flue, 
Hirten, &c., are less in request than they were 
in his younger days. Franz Kaiser, who is now 
thirty-one years old, studied first under Jost, 
Abart, and Imhof; he then passed three years 
at Munich, and finally two years at Rome. At 
Rome, he executed several works on interesting 
subjects of Swiss history; * William Tell in the 
Moment of Ecstasy, when he sees his Child safe 
from his Arrow/ 4 The Dragon- slayer, 4 4 Struthan 
von Winkelried/ ‘Arnold von Winkelried, the 
Hero of the Battle of Sempacb, 4 &c. In all these 
statues, the heroic spirit is expressed in noble 
forms, with a pure design, that recalls classic 
antiquity. This admirable artist has now re- 
turned to his solitary valley, where many im- 
pediments offer themselves to his career. The 
materials he requires are expensive, and difficult 
of transport; the encouragement he receives is 


small, for in Switzerland, the rich are seldom ; 
lovers of art, and the lovers of art are seldom 
rich. If some traveller who has heard the name 
and fame of Franz Kaiser stops to visit his studio, 
he admires the talent displayed in his works, and 
ends by purchasing a dying lion for a letter-weight, 
or a sleeping hound for notes. 

The painter Wursch was born at the beautiful 
village of Buochs, on the Vierwaldstettersee, in 
the latter half of the last century. Many of his 

E ictures are to be seen in the churches and private 
ouses of Unterwalden. His masterpiece is 
4 Nicolas von Flue, 4 in the government house of 
Sarnen. Amongst his works may also be noted, 
a 4 Crucifixion, 4 in the chapel of Grafenort. There 
is much feeling and raina in his pictures ; they 
are well designed and coloured, but have little 
ideal beauty. The expression of desolation and 
religious sorrow that surrounds the mother of 
Christ, in the last mentioned picture, is very 
striking. Wurech was professor of painting in 
the Academy of Besanfon for many years ; he lost 
his sight, it is said, by too much study, and re- 
turned to his native village, where, at the time of 
the French invasion, he was shot dead by a 
French soldier, while in the act of exhorting to 
peace. At the present moment, the little town 
of Stans possesses three excellent painters. 
Zelger, who has devoted himself entirely to 
painting Swiss scenery, and who most admirably 
represents it; conveying the feeling of the still 
loneliness that pervades the scenery of the high 
Alps, as well as representing its peculiar features. 
The dark wood, the torrent springing from its 
bosom, and losing itself as it descends in foam ; 
the gloomy valley ; the deep precipice — these are 
Zelger’s favourite studies. Some of his works 
are lithographed, but in that style no just idea is 
conveyed of his oil pictures. His last work is 
•The Tirlis, seen from the Engelberg Road.* 
The glacier of this mountain king is glancing 
under a dark sky ; in front and below are greeu 
hills, with broken and reflected lights, and lower, 
is a precipice, where the illusion is wonderful: 
you seem to look into it. The fault of Zelger's 

C eil is a want of lightness. H. Kaiser, the 
ther of the sculptor, having completed his 
studies at Rome, has established nimself at Stanz, 
and he has already been worthily employed in 
painting several pictures for churches in Freyburg 
and the convent of Engelberg. 

Paul Deschanden, also now at Stanz, has passed 
several years ;in Italy, at Florence, and at Rome, 
and he has returned imbued with the simplicity, 
pious feeling, and truth, of the early Italian 
masters. It is easy, also, to see how deeply he 
has studied Raffaelle, by the style of his designs 
and his manner of colouring. In the restored 
chapel at Lucerne, are four pictures by him — 

4 Jesus a Child, 4 4 Jesus struggling with Death, 4 
•Jesus Risen from the Dead, 4 4 Jesus as Judge 
of All. 4 There is a fine poetic feeling in the con- 
trast of the figure of the Saviour just risen from 
the grave, the weakness of mortality apparently still 
clinging to him, and the force and power expressed 
in his figure at the last judgment. Among other 
works, Paul Deschanden is now employed on 
two pictures of Moses and St. John. These are 
to be exhibited at the first Swiss exhibition. It 
is said, when the works he has begun are com- j 
pleted, th is artist will go to Munich. 

BAVARIA. — Munich. — Zaloaraphy . — A 
commission has been received at the celebrated 
manufactory of stained glass, annexed by his 
Majesty to the porcelain manufactory, from St. 
Petersburg!), for an immense window, which is 
to form one of theornamefits of the Isaacs church. 
It is to be painted from designs by the Bavarian 
architect and private councillor, M. de Kleaze. 
The painting will be about thirty feet in height, 
and will therefore surpass in size any work 
hitherto executed in zalography , or stained glass. 

PRUSSIA. — Berlin. — Academy qf Fine Arte. 
— The celebrated pianist and composer, Listz, is 
named a member of the Academy of Fine Arts 
here. 

RUSSIA. — St. Pktbrsburgh. — Statue qf 
Poniatoweki . — Some claims having been made in 
regard to the statue of Poniatowski, the emperor 
has ordered the statue by Thorwaldsen' to be 
broken in pieces, and also the clay model. 


THE ANNUAL EXHIBITIONS— 1842. 

THE SOCIETY OF PAINTERS IN WATER 
COLOURS. 

The Thirty-Eighth Annual Exhibition of this 
Society was opened to the public on Monday, the 
25th of April. It has now attained to a vigorous 
age ; year after year its influence has been made 
manifest over a class of art essentially English; 
and there can be no question that from its estab- 
lishment may be dated the very vast improvement 
which the art of Painting in Water Colours has 
undergone during the present century. There are, 
undoubtedly, many whose attachment to the old 
style makes them sceptical as to the value of the 
new i and some examples, produced thirty yean 
ago, are quoted as proofs that modern skill is not 
in advance. But of the general improvement oh 
the part of the artists there can be no question. 
The public feeling, opinion, and patronage, have 
kept pace with them. Of the year’s produce, when 
exhibited, very few return to the producer’s home. 
Already a large proportion of the present collec- 
tion are marked with the agreeable word 44 sold.’ 4 

The society, as a whole, has, we have no doubt, 
carried the art of Painting in Water Colours as far 
as it can be carried. Some great and original 
mind may, possibly, strike out a new path, and 
lead the way to improvements of which we can 
now have no conception ; but until this has been 
done, the annual exhibitions will exhibit only the 
eame pictures we have seen — differing only in sub- 
jects from those which the respective artists have 
already produced. We cannot, therefore, speak 
of the exhibition as a 44 move forward;” it is 
something to say there is no retrograde move- 
ment; that no member has fallen off; but that 
each maintains his reputation to the full. Two 
or three recent accessions, however, have given 
to the society additional strength. And as, no 
doubt, they will manifest their accustomed judg- 
ment and acuteness in augmenting the body— m 
this respect, changes for the better may take place 
from year to year. 

Public gratitude is due to the society for the 
stimulus they have so long given to the art : to 
them we are mainly indebted for the supremacy it 
enjoys and retains in England. On the whole, 
perhaps, it is not to be regretted that in the col- 
lection there is no peculiarly attractive work. The 
interest, consequently, is not concentrated, but 
scattered. And it is scarcely too much to say 
that of the entire assemblage there are very few 
that can be justly described as mediocre; and 
scarcely half-a-dozen that may be characterised 
as bid. Of the 338 pictures exhibited, there are 
certainly 300 which possess high merit. 

No. 1. 4 View of Como, 4 W. Callow. A rich 
and true copy of a scene with which genius has 
so often made us acquainted thatwemay fancy every 

E ortion of its shore to be as familiar to us as the 
anks of our own fair Thames at Richmond. The 
pencil of the artist and the pen of the poet have 
been equally eager and earnest to extend the fame 
of its exceeding beauty. 

No. 2. 4 Hotel de Ville, Brussels/ S. Prout. 
We rejoice to meet our old and honoured friend in 
all the freshness and vigour of his younger days. 
It is not always that sickness impairs the mind ; 
although it may postpone the production of evi- 
dence of its power. We trust, however, that we 
may regard this work as proof of the estimable 
artist’s recruited health; for it is a more than 
usually elaborate performance, and manifests 
labour as well as thought. It is, indeed, remark- 
ably full of details : the groups around the edifice 
are numerous and characteristic ; each being a 
portrait, illustrative of the habits of the people, 
and the costume of the country. The same manly 
and masterly touch that distinguishes the paintings 
of Mr. Prout is expressed in every portion of the 
picture ; and though competitors in abundance 
have started up of late years, they have not yet 
surpassed the painter by whom they have been 
taught ; the best of them may be proud to own 
they have profited by his lessons. 

No. 8. 4 Girl with Pitcher/ O. Oaeley. The 
production of a new member ; and one who must 
be regarded as a valuable acquisition to the society. 
He is true to nature; and yet true as poetical 
painters ought to be, seeing only, or at least noting 
only, that which is agreeable as well as faithful. 


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A gnarled oak may be, at timet, a useful accessary 
to a picture, but who would tolerate the artist who 
painted nothing else ? There are many *' Graces" 
m our English corn fields, although rude and 
coarse 44 Moggys" are plenty enough. Mr. Oak- 
ley is riaht in copying the former, and he has done 
so, we think, without exaggeration, very delicate 
and beautiful as his portraits are. 

No. 28. 4 A Family of Primitive Christians 
reading the Bible/ J. W. Weight. A well con- 
ceived and ably painted work, drawn with a vigor- 
ous pencil and coloured with corresponding force. 
The portrait of the young wife with her first-born 
is especially fine. 

No. 42. * Tore Lake, Killaraey,* W. Evans. 
A delicious picture of a most delicious scene, and 
one, the truth of which will be at once appreciated 
by all who have visited the far-famed lakes. 

No. 46. 4 Study of Gypsies,' O. Oakley. 
Another of Mr. Oakley's admirable pictures — a 
group such as we have met scores of times in some 
secluded dell awav from the main road. 

No. 47. 'View from the Churchyard at Thun, 
Switzerland,’ W. Callow. A picture of high 
merit ; affording a clear and convincing idea of the 
reality. 

No. 49. 1 View on the River Lowther,' P. Dr 
Wint. A fine, broad, vigorous, and most effective 
English landscape, painted in a bold and manly 
style. 

No. 54. 4 Dorney Common,' W. Evans. A 
sweet composition; very graceful and beautiful, 
abounding in small episodes, which show the artist 
to be a close observer. i 

No. 58. 4 Don Quixote, fed by tbe high -born 
Damsels,' J. M. Wright. A capital picture; I 
full of point and character, and atoning for much j 
hardness of style by the feeling with which tbe | 
artist has entered into the design of the author. 

No. 83. 'The Necropolis at Glasgow/ H. 
Gastinrau. An interesting subject, pictured 
with much skill. Introduced into it are the 
monuments to Knox, Dick, and " Mr. Lawrence, 
a young sculptor." 

Nos. 86 and 87. 4 Falls on the Rhine, at Schaff- 
hausen,' * On the Frome at Stapleton, near Bris- 
tol/ G. A. Fripp. Two clever pictures; ably 
contrasting the scenery peculiar to Switzerland and 
England. 

No. 88. 4 Tore Fall, Killarney," W. A. Nrs- 
firld. Although the artist intimates that his 
sketch was made " during a clearing," under his 
•• superintendence/’ we must be permitted to sus- 
pect that his fancy has greatly exaggerated the . 
breadth of the fall, and surely he has added some- 
thing to the " decent draperies" of the " boys" 
who are in attendance. 

No. 92. ' A Composition/ J. Varlry. With 
much that is natural, and much that is unnatural, 
this is still a remarkable work. A piece has been 
added to the right of the picture ; its value would 
have been enhanced, if precisely the same quantity 
had been cut away from the left. 

No. 96. ' The Highlanders' Burving-ground, on 
an Island in the Loch Maree, Koss-shire/ W. 
Turner. A remarkably picturesque and interest- 
ing subject, treated with much ability. 

No. 101. 4 View on the South Downs, with Cis- 
bury-hill, near Worthing/ Coplry Fielding. 
A work of extraordinary merit. A triumph of art 
over a most unpropitious subject. We have here 
nothing but a bleak and brown heath, in the dis- 
tance some sloping hills, and in the foreground a 
couple of figures ; jet all the parts are made to 
harmonize so happily that we do not miss tbe ac- 
cessaries, usually considered essential to make up 
a picture. The whole is beautifully toned; the 
production of a great and justly popular master. 

No. 102. ' Ferry on the Thames,' W. Evans. 

A most exquisite picture, full of beauty and inte- 
rest. 

No. 112. 4 Fingal's Cave, Isle of Staffs,' Coplry 
Firlding. A noble picture; conveying a fine 
idea of one of the grandest of nature's works. 

No. 122. 4 A Match Girl,' O. O aklry. Another 
rustic portrait, true to the life, although of pasa- 
ing mice, delicacy, and beauty. The sad feeling 
ef desolation in the hopeless orphan girl is finely 
expressed. The work is one of great merit and 
of peat value. It is, perhaps, the most striking 
and interesting of all Mr. Oakley’s contributions ; 
tbej are just the works which tell with the mass, 
while they do more than merely satisfy the con- 
noisseur. 


No. 130. 'The Castle Chapel,' G. Catter- 
mole. A noble composition, full of fine feeling. 
The castle inmates are at prayers, on the eve, it may 
be, of some attack, for the countenances express a 
solemn awe of some approaching trial rather than 
a pure devotional feeling. The picture is rather 
sketchy in style, but is full of character. 

No. 113. Tr&port, Coast of Normandy,' C. 
Bentlry. A fine copy of the sea, the several 
accessaries to which are admirably rendered. 

No. 143. ' Lisbon, from Porto Brandas,' J. 
Holland. A noble and beautiful work, the pro- 
duction of a skilful pencil and an accomplished 
mind. 

No. 144. 4 Endsleigh, a Seat of his Grace the 
Duke of Bedford/ J. D. Harding. Perhaps, on 
the whole, the most delicious landscape in the col- 
lection ; very true to nature, but subjected to all 
tbe refinements of art. The subject is a simple 
one — a river, running between sloping banks ; in 
the fore-pound is a small rock, upon which cows 
are standing, ; the thick foliage overhangs the 
current, now eddying along, and now breaking on- 
wards. It is in all parts perfect. 

No. 151. ' A Farmer’s Boy/ W. Hunt. Of 
many capital pictures by Mr. Hunt, this is, per- 
haps, the best ; the portrait is real, in no degree 
exaggerated, alike free from coarseness and over- 
refinement. The boy is, indeed, just such an one 
as we have met, a score of times, when the music 
of the scythe is heard in the meadow. 

"No. 153. ' Narcissus and Echo/ J. Cristall. 
A work of great merit, although, apparently, un. 
finished; and the Echo is a thought too sub- 
stantial. 

No. 154. J. Varlry. The very antipodes of 
Mr. Harding, a bold, rough copy of nature, or 
rather of what nature may be, for the picture is a 
creation of the artist’s fancy. It is painted with 
great vigour, and, in parts, possesses excellence 
rarely surpassed. 

No. 164. 4 Thoughts in a Church-yard/ the 
late G. Barret. The admirable and] estimable 
artist will be " missed from his accustom'd" 
walk ; this memory of him is especially inte- 
resting; it exhibits the tone of his mind to- 
wards the close of his valuable life ; for it is one 
of the most recent, if not the latest, of his pro- 
ductions. He was a most pleasant painter, one 
who delighted in the cheerful looks of nature ; and 
although it has been objected against him, that he 
"liv’d too much i'the sun," no artist ever more 
ably or more truly pictured the great producer of 
existence, either at his rising or his setting. 

No. 167. ' Saying Grace,' W. Hunt. We can- 
not speak of this as we have spoken of No. 151. 
Here the boy has a forced expression : the coun- 
tenance is more that of a repentant, but hopeful, 
Magdalen than of an embryo farmer returning 
thanks for a bountiful meal. It is painted, how- 
ever, with great care ; the face is wrought up to a 
marvellous degree of refinement. 

No. 171. ' rowis Castle/ D. Cox. Apowerfully 
painted work. Mr. Cox " comes out" this year 
with renewed vigour. 

No. 172. * Scotch Peasants, Loch Etive.' Ano- 
ther graceful and pleasing picture by Mr. Gas- 
tinrau. 

No. 175. 4 Hospitality to the Poor/ G. Cat- 
termolr. A work of the very highest merit; 
admirable in conception and execution ; all the 
details are well made ont, and the story, simple 
though it be, is told with emphasis. 

No. 178. 4 Cattle returning from Milking,' 
J. D. Harding. This also is one of the most 
agreeable landscapes in 'the collection ; painted 
with great delicacy, and producing pleasure by the 
skilful admixture of nature with art ; the veritable 
with the imaginative. 

No. 179. 4 vessels in a Breeze/ Coplry Firld- 
ing. Another of the many admirable contri- 
butions of the artist, who seems equally 44 at 
home" on the open sea, tbe sandy beach, the 
green wood, the mossy down, and 44 mountains 
inaccessible." 

No. 195. 4 Porch at Montacute, Somersetshire/ 
Joseph Nash. Mr. Nash has done more than 
any living artist to restore admiration, and conse- 
quently appreciation, of the fine old structures of 
a remote age, when 44 the good old English gentle- 
man" built for posterity. This is an example of a 
class of art in which the painter is unrivalled : he 
conveys a noble idea of the beauty and grandeur 
of an ancient edifice ; and his restorations always 


carry back the spectator to 44 the high and palmy 
state" in which they flourished. Nothing can be 
more judicious and nothing more agreeable than 
his introductions of figures in tbe habits of the 
times in which the parties lived. Considered as 
mere productions of art, his paintings are ad- 
mirable; but they derive additional value from 
the evidence they supply of matured thought and 
study. 

No. 200. 4 Venice/ J. Holland. A beautiful 
transcript of a fine passage. 

No. 201. 4 A Day on the Upper Lake, Killar- 
ney/ W. A. Nrspield. A most sweet picture, 
giving a good idea of the scenery that surrounds 
the lake, and of the stag-hunt, for which its shores 
are famous. 

No. 214. 4 Petrarch's House, at Arqua/ S. 
Prout. A subject of much interest, skilfully and 
accurately painted. 

No. 215. 4 A Barn-door/ R. Hills. Although 
it would be impossible to describe the works of the 
excellent and estimable secretary of the society as 
on a par with those of many whom he has in a 
measure called into existence, his pictures always 
convey pleasure — in spite of the glaring green he 
perseveres in introducing into them. 

No. 216. 4 The Wedding.' Mrs. Seyffarth. 
A finely painted work ; but the sentiment is not 
true. The broken-hearted bride is made to leave 
her home for the church, with her rich bridegroom, 
in tbe presence of her deserted lover. There are 
parts in the picture of great excellence. How 
capital is the portrait of the young heedless girl 
who is forcing on her glove ! But, as a whole, it 
fails to produce the effect desired and intended. 

Nos. 222, 223. 4 Camellia Japonicas ; Convol- 
vulus,' V. Bartholomew. It is difficult to con- 
ceive that mere copies of flowers can ever surpass 
these. The works of this artist are of astonishing 
accuracy, and of marvellous beauty. 

No- 234. 4 New Year’s Eve,' A. Chisholm. 
In spite of a murkiness of style there is great 
merit in this work — a subject from Burns, full of 
incident and interest. It is good, but mainly 
because it is true. 

No. 239. 4 A Corn Field/ P. Dr Wint. A 
capital work, one of the best of its class ; it strikes 
us, however, that the picture would have been 
more effective if the figures and other objects 
in the fore-ground had been eoznewhat less in size. 

No. 239. 4 Scene from the Black Dwarf/ 
Frederick Taylrr. A triumph over a diffi- 
culty. The figure of the Dwarf, although true to 
the author, is not repulsive ; and that of the fair 
maid to whom he presents the rose is very happily 
rendered. The party ascending the hillock is 
beautifully and skilfully grouped. The execution 
of the work is of high merit. The screen contains 
several small pictures by Mr. Tayler, and all of 
them are of great excellence. No. 261, 4 The Old 
Admiral and his Daughter,' is capital. In No. 
270, 44 Sophia Western playing tbe Squire to 
Sleep,' the artist has caugbt the very spirit of 
Fielding. In 285, 4 Interior of a Keeper's Cot- 
tage/ there is a group of dogs, wonderfully real ; 
and in 288, 4 Market Girl,' there is nature itself. 

No. 306. 4 F. Stone.' Mr. Stone is this year 
by no means a large contributor, and this is to be 
regretted, for there is a manifest lack of 44 figure 
subjects" in the exhibition, in consequence of 
which landscapes have, necessarily, an undue 
preponderance. Nos. 306 and 310 are, we be- 
lieve, tbe only works he has sent ; and they are 
not sufficient to sustain his reputation, although 
very graceful and effective 44 portraits," for por- 
traits they are, although designed to illustrate 
passages in the 44 Penseroso," of Milton. 

The space to which we are compelled to limit 
ourselves is exhausted, yet we cannot pretend to 
have noticed half the works of interest and merit 
exhibited in the gallery, it will, no doubt, be 
visited by all who really love art, appreciate 
its higher qualities, and desire to watch the pro- 
gress of 44 our English School." 

A visit to the Exhibition will be a rare treat to 
the public ; it is so compact and so complete ; 
there is so small an admixture of the inferior with 
tbe excellent, and so much to interest, gratify, and 
encourage. A daily visit to this gallery is, iufact, 
a daily lesson in the art of painting in water 
colours, and where a vast deal may be learned 
from the best of our English masters, at the cost 
of a shilling. 


Digitized by 


THE ART-UNION. 


[May, 


NEW SOCIETY OF PAINTERS IN 
WATER COLOURS. 

Th> eighth annual exhibition of this Society, 
was opened to the public on Monday the 18th of 
April. The private view, which took place on 
the Saturday preceding, was attended by the 
Premier, and a large number of distinguished 
lovers of the arts ; and on the day before, the 
Prince Albert spent above two hours in the gallery, 
where he purchased one picture, the work of Mr. 
Edward Corbould, at the price of 200 guineas. 
This fact is worthy of record, as among the en- 
couraging signs of the times. His Royal High- 
ness occupies a position which gives him im- 
mense power to foster the arts of his country 
—for Great Britain is his country, in a more 
important sense than that which gives a claim 
from the mere accident of birth ; and the Prince 
has already afforded abundant proof that he so 
considers it. It is therefore gratifying to find 
him entering an exhibition-room, and selecting, 
at the suggestion of his own natural taste and 
unbiassed will, the best picture it contain e. It 
argues, tafely % for the hereafter state of British 
Art, shows that he is guided by sound judgment, 
uninfluenced by a mere care to patronage (for we 
believe, until he entered the gallery, he had never 
heard of Mr. Corbould’* name), and disposed, 
or rather determined, to bestow the sanction of 
his approval only upon true merit. To what an 
opposite conclusion must we have arrived, and 
how full of melancholy forebodings would have 
been the circumstance, if instead of purchasing 
this work, he had bought the piece of canvass for 
which some tasteless amateur paid the like sum, 
200 guineas, at the exhibition of the Society of 
British Artists. 

The “New Society of Painters in Water 
Colours,” has made extraordinary progress from 

J rear to year ; each exhibition has been a decided 
mprovement upon its predecessor. A natural 
consequence has resulted from its success : greater 
caution in the choice of members as vacancies 
occur. The more recent elections are all good; 
and although some of the older contributors re- 
main unrivalled, the infusion of new blood has 
given a stronger and healthier tone to the whole 
body. Men of matured experience and established 
reputation, such as Mr. Warren and Mr. Haghe, 
must “ look sharp,” when they find neophytes 
like Messrs. Topham. Jenkins, and Absolon, 
treading so closely on their heels ; to say nothing 
of Miss S. Setchel, who promises to rival, if, 
indeed, she have not already rivalled, the best 
of them. 

We rejoice at the onward progress of the So- 
ciety, at its increasing merit, ana at the certainty 
that this increased merit is appreciated by the 

J mblic. It struggled through an adverse current 
or some time, wind and tide against it ; auspicious 
gales have set in, and the result can now scarcely 
be otherwise than prosperous voyages year 
after year. 

The present exhibition contains 341 works; 
the proportion of landscapes being by no means 
over great. The collection is certainly not of 
entire excellence. There are many mediocre 
productions, and some utterly bad. A few there 
are of ambitious size and subject, but so mani- 
festly inferior, that the judicious visitor cannot 
foil to wish them away. But the gallery contains 
many of the very highest merit; high examples 
of a class of art in which the English school is, 
and has long been, pre-eminent. 

No. 13. 1 View on the Reuse, Pass of St. 
Gothard, Switzerland,’ W. Oliver. A land- 
scape of great merit ; a fine and accurate copy of 
nature, of one of the most beautiful and interest- 
ing scenes, in a land most rich in the picturesque. 
It is wrought with care, and coloured with judg- 
ment and taste. Mr. Oliver is an extensive con- 
tributor, and all his contributions are good. 

No. 17. ‘The Cooling Room (Meslukh) of an 
Egyptian Bath,’ H. Warren. A work of the 
rarest excellence, grouped with considerable skill, 
and finished, in its more prominent features as 
well as in its minor details, with delicacy and 
power. It conveys a vivid idea of the scene de- 
picted ; the luxurious ease of an eastern life ; the 
beautiful forms and faces of the women of the 
East. The artist has happily contrasted the ex- 
ceeding grace and loveliness of the bride, with 


the dark countenances of the attendant slaves, 
accessaries to the “ ceremony” of the bath, and 
very valuable auxiliaries to the materials of the 
picture. 

No. 31. * Grapes and other Fruit,’ Mrs. Mar- 
gettb. A work of the highest class ; it is scarcely 
too much to say, that it has been, hitherto, un- 
surpassed by any British artist as an accurate 
copy of reality, in the style to which it belongs. 
It is painted with amazing force. There is no 
indecision, or “ niggling’’ effort to imitate nature : 
a bold and firm pencil has copied “ facts.” 

No. 58. * Scene from Crabbe’s Tales of the Hall,’ 
Miss S. Setchel. This also is the production 
of a lady, and one which does honour to the ac- 
complished mind and vigorous hand that have 
produced it. The picture describes the visit of 
Rachel to her lover, Robert, in prison. The 
“sad couple” are seated, and she is asking the 
criminal if he will save his life by resigning her — 
by resigning her that she may become, as the 
price of his safety, the wife of “ his brother and 
his foe.” 

“ I ask’d thy brother James, would’st thou command 
Without the loving heart, the obedient hand ? 

I ask thee, Robert, lover, can’st thou part 
With this poor hand when master of the heart.” 

The incident is a very touching one. In the sequel, 
the lover relinquishes her hand; and his safety 
is secured by the sacrifice. The poor girl becomes 
the wife of his brother-rival, and subsequently, 
the brothers, the one a poacher, the other a 
keeper, meet, and each falls by the hand of the 
other. 

“Two lives of men, of valiant brothers, lost; 

Enough, my lord, do hares and pheasants cost.” 

So much, and indeed more, of the deeply pa- 
thetic story is necessair, fully to estimate the 
value of the picture. The countenance of the 
maiden (that of the lover is hidden) tells her sad 
tale. It is a history of self-sacrificing virtue. 
Nothing is exaggerated, nothing added to the 
expression with a view to dramatic effect ; calm 
and resolute, yet tender and affectionate, the 
woman waits the answer that is to fix her destiny. 
The execution of the work is on a par with its 
conception ; better painting has been rarelv seen 
upon the walls of any gallery of British art.* 

No. 77. E. Corbould. ‘ He that is without 
sin among you, let him cast the first stone at her.’ 
This was a bold attempt for a young artist— for 
any artist indeed, and one in which a falling 
short of great success would have been positive 
failure. To have succeeded, is to have done that 
of which very few of our English artists, eminent 
as they are in other branches of the profession, 
are capable. The art of painting in water colours 
has rarely achieved a more signal triumph. The 
conception of the subject is exceedingly grand, 
the grouping is unexceptionable, and the execution 
is of the very highest merit. The Jews who 
tempt the Saviour, are, it may be, of too “ savage” 
a character — the introduction of an oily and in- 
sinuating Pharisee, would have been an advantage ; 
perhaps the cords which have bound the woman, 
and are not loosened, but broken, savours some- 
what of affectation; and a seated “ Scribe,” who 
looks peculiarly amiable, seems to have no business 
there— he cannot be one of the apostles, and he 
certainly is not one of those who “ tempted the 
Saviour, that they might have to accuse him.” 
If the defects were ten times as numerous and as 
glaring, there would he, however, in the picture, 

* This picture has been purchased for the sum of 
twenty-five guineas, a sum greatly below its value. 
But that is a small matter ; the reputation it will pro- 
cure for the accomplished artist cannot flail to make 
her “ rich for there is no accidental merit in the 
work ; and the mind that produced it can, and will pro- 
duce others, of equal or greater value. It was bought, 
it appears, by a Mr. Vaughan. But it seems that the 
Prince Albert on visiting the gallery, made a note of 
three pictures which he desired to possess; he deter- 
mined on obtaining two of them, and sent an equerry 
to say which of the two be would like. The equerry was 
certain as to Mr. Corbould’s picture, but uncertain 
with respect to the other two; and stated that a 
message should be sent to settle the point. When the 
message arrived, the picture was marked “ sold.” The 
Queen, it appears, greatly desired to call it hers; and 
expressed her disappointment to the secretary who was 
sent for to the palace. We take for granted that long ere 
this Mr. Vaughan has signified his wish to transfer the 
possession to that of her Majesty. We have not heard 
that be has done so ; but there can be, we imagine, no 
doubt upon the subject. Such a courtesy is due to the 
first lady of the age, to say nothing of other reasons. 


ample to compensate for them. The figure c f 
Christ is beautifully wrought ; not altogethe ' 
answering to our notions of the “ Divine nature, 1 
but what painter ever realized them ? The ex • 
pression is exceedingly holy, calm, dignified, and re - 
posed. The robes are broadly painted ; the feelin ; 
has been caught from the old masters. The portrai : 
of “ the woman” is peculiarly happy ; the shame l 
countenance is hidden, the nand of the accuse 1 
conceals it, but the story is thus more emphati • 
cally told. The drapery is delicate to a degree ; 
and is finely contrasted with the breadth exhibite 1 
in the robes of the Saviour. The group to th s 
left of Christ, explaining the law as “ Moses com • 
manded us,” is of the highest possible meril . 
Mr. Corbould has, by this work, established hi i 
reputation. He may take his place among tbs 
foremost of our English painters in water coloun . 
Let him next paint the Divine Master alone wit i 
“the woman,” asking the question, 

“Where are those thine accusers?” 

No. 95. ‘ Confession before Battle,’ L. Haobi. 
A knight is confessing to a monk. The picture 
is painted with great power ; the colour is in dee ! 
as forcible as if wrought in oils, but the subject is 
not well chosen — it tells nothing; there is m 
character in the expression of either of thetws 
persons introduced. The face of the knight 
speaks of many a fierce fight; but of strong 
passion, of crime unatoned for, of high hope, or 
murky despair, there are no traces. The work 
has, in fact, little to recommend it beyond its 
merits as a finished work of art, and these are 
great: as a composition, it is of small valucu 
This is to be lamented, for Mr. Haghe has hereto- 
fore given abundant proof that he can conceive 
as well as execute. 

No. 99. 4 Sale of a Nubian Girl,” H. War- 
ren* A beautiful and very touching composition, 
full of the finest feeling, and of high merit as a 
work of art. The draperies have been “ put on M 
with exceeding skill. 

No. 110* * Scene from Romeo and Juliet,' Mias 
F. Corbaux. A work of considerable talent: 

■ painted with much vigour; of a firm and bold 
I tone of colour; yet scarcely so decided an im- 
provement upon former works by this accom- 
plished lady, as we might have been justified in 
expecting. The subject is scarcely one that suited 
her graceful and facile pencil. 

No. 146. 4 Rich Relations,’ John Absolon. 
This is one of many meritorious works by an 
artist who affords promise of future excellence. 
In his choice of subjects, he appears to be guided 
by judgment and taste : his powers of conception 
and arrangement may be trusted safely; and in 
the “ executive ” of his art, he is by no means 
deficient. We shall watch his progress with much 
hope and some confidence. 

No. 196. • The Wearied,’ F. W. Topham. 
This is a new name, but one that will become 
famous. The artist is an extensive contributor ; 
and all his works betoken genius of no common 
order. His style is bold and free, yet sufficiently 
finished in the parts that require more elaborate 
“ working up.” In this picture, No. 196, he has 
represented a group of young, but wearied, way- 
farers, resting awhile beside an ancient bridge; 
from the stream it crosses, one of the party is 
drinking a refreshing draught. The figures seem 
to require more careful drawing; but the land- 
scape is natural and true, and a happy harmony 
pervades every portion of the work. 

No. 214. 4 Boulogne Shrimper, ’ J. J. Jenkins. 
We select this, among many excellent contribu- 
tions by the artist, for especial praise. It is for- 
cible and effective, and natural aod true. Mr. 
Jenkins has made great progress during the past 
year ; he has always manifested taste and feeling 
in his compositions ; he now establishes his claim 
to qualities still higher— judgment and power. 

No. 220. * Summer,’ E. Duncan. A most 
agreeable landscape, painted with a fine percep- 
tion of nature in her pleasantest garb. The cut- 
tie are pictured with great ability. This is one of 
many good works by the same hand. 

No. 225. 4 Calais Pier/ T. S. Robins. A 
small painting of areat value. One of the moat 
satisfactory “ bits ” in the collection. 

No. 237. 4 Lord Nigel’s Introduction to the 
Sanctuary of Alsatia,* E. H. Wehnert. A wot* 
of much talent, but not a pleasant one ; the treat- 
ment of the subject, perhaps, naturally induced 


Digitized by 


■oogl 




1843 .] 


THE ART-UNION. 


103 


vulgarity, and there is here no lack of it. The 
characters, however, are well conceived and skil- 
fully arranged. 

No. 240. ‘ The Wanderers,' F. W. Tor ham. 
Another excellent work ; the same group as that 
referred to (No. 196), and telling a part of the 
same story. 

No. 258. 4 Hagar the Egyptian, and lahmael 
her Son, cast out into the Wilderness,' H. War* 
ref One of the leading attractions of the 
exhibition; a work of the very highest merit. 
The figure of the patriarch is exceedingly digni- 
fied ; that of the unhappy Egyptian, whom he is 
driving from his tent, is touching to a degree. 
The melancholy look speaks a volume. Every 
part of the picture has been carefully studied, and 
is highly finished. 

No. 259. 4 A Nibble,' J. J. Jenkins. A group 
of little urchins angling. A pleasing thought, 
worked out with great and good effect. The coun- 
tenances of the young fishermen are full of anxious 
meaning. The landscape is happily coloured, and 
the water very real. 

No. 276. 4 The Tomb of the Cardinals d’Am- 
boise,' R. K. Pinson. A gorgeous work, painted 
with great skill and high finish ; but the material 
of which it consists is scarcely equivalent to the 
great size of the picture. 

We have noticed only the more prominent 
pictures in the collection, and upon these alone 
we are enabled to remark at any length. There 
are, however, many others that demand a word 
or two of commendation, as affording evidence of 
either promise or progress on the parts of the 
respective artists. Such are No. 48, 4 Group of 
Roses,' by Miss Harrison. An exquisite and 
accurate copy of uature. 

No. 66. ‘ Mount Orgueil, Jersey/ E. Duncan. 
A fine picture of the sea ; with the usual accessa- 
ries ; painted with much delicacy and force. 

No. 65. 4 The Conflagration of the Tower.* 
G. S. Shbphird. A remarkable and interesting 
subject, treated with great skill, and affording an 
accurate idea of the scene. 

No. 67. 4 A Bull,* C. H.Wkioall. Avery 
clever drawing. 

No. 57. 4 Edinburgh Castle,' T. M. Richard- 
son, sen. A work of considerable merit, the 
production of an artist who copies nature with 
fidelity, and yet tinges his copies with the feeling 
of a poetic mind. 

No. 91. 4 Meditation,' E. H. Wehnrrt. A 
bold and vigorous example of rustic portraiture. 

No. 137. 44 The Milk-Maid,’ E. Corbould. 
A very pretty and graceful young lady, sitting on 
a stile 44 near a milk-pail," that she will never 
44 carry.” Like some other most agreeable draw- 
ings by Mr. Corbould in the collection, his vil- 
lage lasses are in masquerade ; they are offsets of 
the drawing-room, and not of the cottage ; or, at 
least, belong to no cottage but a cottage orn£e. 
Against this danger of over-refining, at the ex- 
pense of nature, the accomplished artist should 
he upon his guard. 

No. 131. 4 Susan Holiday,* J. Absalon, is 
really what she purports to be — a veritable lass, 
who milks the cow before the sun has taken the 
dew from off the grass. 

No. 169. 4 A Coast Scene,' T. S. Boys. A 
pretty little bit, but by no means sufficient to up- 
hold the reputation of an artist, who has a reputa- 
tion which he ought not to risk. This is merely 
an excuse for keeping his name on the exhibition 
list. 

No. 177. 4 On Holt Heath, Norfolk.' H. 
Bright. The remark applies still more strongly 
to this 4 4 sketch,” a mere apology for doing nothing. 
If Mr. Bright designs to abandon painting in water 
colours, he should do so more gracefully— more 
honestly we were about to say. We have been 
foremost among those who have borne testimony 
to his abilities m either art. He is not justified in 
making us appear false prophets concerning his 
fame, oy exhibiting, as the produce of a year’s 
preparation for this Society, a crude and undigested 
thought . ^ 

No. 213. 4 Church of St. Maclou, Rouen,* G. 
Howse A work of great merit, elaborately 
wrought in all its details, whether of the noble 
and time-honoured structure, or the character- 
istic groups assembled at its base. There are, in 
the gallery, many excellent and valuable works 
by this artist. 

No. 224. 4 Richard Coeur de Lion, arrested at 


Berlin.' W. H. Kearney. In some respects a 
work of much merit, but most defective where it 
should have been most successful. 

No. 232. 4 On the Alton Downs, below Exeter,’ 
James Fahey. A pure and true transcript of 
nature ; a delicate bit of English landscape ; copied 
by an able and excellent artist. 

No. 264. 4 The Romp,' A. H. Taylor. A 
capital sketch of character. 

We must be pardoned for having still left many 
good works unnoticed ; and we pray that our 
omissions may be attributed to any cause rather 
than the demerits of the exhibitors. 

SOCIETY OF BRITISH ARTISTS. 

Wi cannot afford much space to a notice of the 
works contained in the gallery of the Society of 
British Artists; nor do they, indeed, call for it. 
The foolish system, so long pursued, has this year 
grievously damaged the exhibition. We earnestly 
nope it will not oe persevered in — that the acces- 
sion of a few more rational and right-thinking 
men will render nugatory the efforts of some 
wrong-headed members to convert the Institution 
into a mere trading body— that it will be at least 
conducted with integrity ; and that if fair competi- 
tion is not to be permitted, a declaration to that 
effect will be, at all events, honestly put forth ; so 
that neither the artists nor the public can be 
misled. 

The following passage, which occurs in the pre- 
face to the catalogue, is not sufficient : — 

44 The Society consider it due to those artists whose 
works have been returned (upwards of two hundred in 
number), to state that want of room to exhibit them 
favourably has induced the adoption of this course — 
many works of talent so returned being worthy of a 
better situation than, if retained for exhibition, could 
have been assigned them, without prejudice to the 
interests of the members of the Society, by whose 
strenuous exertions and contributions (pecuniary and 
otherwise) the Institution was originally founded, and 
has been since maintained.” 

The Society, to have made this arrangement ap- 
pear an act of integrity, should have hung no 
unprivileged works oi a//, or at least none in bad 
places; and should have previously announced 
their intention, in order that contributors of 
44 works of talent ” might not have been subjected 
to the humiliation, annoyance, and expense of 
having their pictures returned to them, after the 
Society had made an examination into their merits. 

No. 4. 4 Duncan's Horses,' J. F. Herring, sen. 
Mr. Herring contributes several works, all of 
which possess very considerable merit. No artist, 
indeed, has ever 4 used the horse ' more skilfully 
or gracefully. His pictures are highly poetic. 
The noble animal is Hilly understood, and never 
has been painted with greater accuracy ; but he is 
made to seem a creature of the 44 upper ” and not 
of the 44 lower” world. The painter has given to 
him almost the character of reason as well as the 
expression of thought. This, No. 4, and its com- 
panion, No. 16, are admirable performances— un- 
surpassed in their way; while still finer is that, 
No. 521, which represents Mazeppa, borne by the 
mad steed among the herd of wild horses. The 
artist has, however, shown that he can picture 
mere facts with as much ability as he can imagine 
poetry. The collection contains some mere portraits 
of the horse, which are admirable in all respects. 

No. 12. 4 My dear Brother,’ F. Y. Hurlstonb. 
If Mr. Hurlstone had died four years ago, his 
name would have endured for ages among those of 
the ablest of our British artists. Year after year, 
however, he has been losing his reputation; and 
this year it is scarcely an exaggeration to say, that 
the value of his canvass would be enhanced by a 
new priming. We cannot point out among his 
twelve contributions one that is not utterly worth- 
less. 

No. 55. 4 Rachel Ruisch — forming a group of 
Fruit and Flowers,’ G. Stbvens. Luckily for 
the artist this picture is 44 sold;” some enlightened 
amateur having taken it in exchange for two hun- 
dred guineas ! If he be content with his purchase, 
we have no right to complain ; we wish him joy of I 
his bargain; but we may be thankful that such 
44 patrons of the Arts” are not very numerous. 

No. 118. 4 The Reverie,’ Miss M. Faulkner. 
A very sweet and graceful composition, worthy of a 
better place ; and which certainly ought to have been 
found for it, 44 without prejudice to the interests of 
the members of the Society,” in favour of the pro- 


duction of a lady ; the only one she contributes, 
or rather the only one exhibited, 44 from want of 
room.” The hanging it in a more prominent po- 
sition would have 44 prejudiced the interests of the 
members” in more ways than one; in a way in 
which, perhaps, the passage in the catalogue pre- 
face ought to be taken. 

No. 129. 4 Sterne’s Maria,' F. Stackpoolb. 
A new name, and one that gives good promise. 
The picture may be somewhat too bright, but it 
is composed with a fine feeling for nature, and an 
accurate estimate of the capabilities of Art. 

No. 130. 4 St. Edmund’s Chapel, Westminster 
Abbey,’ E. Hassell. An interior, very elabo- 
rately wrought. A production of considerable in- 
terest and value. 

No. 191. 4 An Italian Hay-cart,’ C. Joai. A 
work of the highest possible merit ; one that, to 
be appreciated, must he looked closely into. The 
best of the old Flemish masters have hardly sur- 
passed it in combining with grand effect minuteness 
of finish. The heads of the oxen are wrought with 
marvellous skill. It is, indeed, a gem of the first 
water; and worth a score of its neighbours. 
No. 211 is nearly of equal value. 

No. 193. 4 Dolly Varden,' W. P. Frith. A 
small contribution, by an artist who will ere long 
play a 44 premiere rtile” upon a higher stage. 

No. 237. 4 Scene in the Harem,’ A. J. Wool- 
her. In spite of Mr. Woolmer's persevering 
efforts to copy in figures the affectations of Tumcg 
in landscape, his works are of great merit. He is 
a man of genius, undoubtedly ; and if he would go 
to the school of nature, and learn from her to be 
44 wise,” he would very soon occupy a position 
still within his reach. If he continue much longer 
in his present style he will never attain it. Among 
the pictures he this year exhibits, there are several 
of great beauty — rich and rare examples of poetry ; 
and some of them are more free than others from 
the vicious habit of colour into which he has 
Mien. It will be easy for him to become more true 
without being a whit less fanciful. 

No. 258. 4 An Hungarian Diligence/ J.Zeitter. 
An exceedingly clever work ; one of many interest- 
ing and valuable productions, by an artist of great 
merit. 

Nos. 259 and 271. 4 Passages in the Life of 
Man ;* 44 He goeth forth”— 44 he returneth,” E. 
Prbntis. Mr. Prentis must take care ; he is 
bordering upon caricature, and has already passed 
the boundary which divides the natural from the 
vulgar. Heretofore he has generally atoned for 
much hardness of style, and inelegance of cha- 
racter, by the pleasing sentiment he has conveyed, 
or the familiar incident he has sent home anew 
to the heart. In No. 259, he has pictured g 
most disagreeable scene, unworthy of him ; 44 ▲ 
Clubbist” is setting out to 44 the feast,” neatly 
arrayed in all his points by his wife, who gives 
him the warning lecture on sobriety. In the next 
picture he is returning, a positive beast, to the 
home where the lonely wife sits disconsolate. 

No. 295. 4 Shoreham, Sussex Coast,' J. B. 

Pynb. Mr. Pyne deservedly ranks among the 
most accomplished of our English landscape pain- 
ters. He is, as a matter of course, foremost in 
this exhibition, to which he is a large contributor ; 
and where he is now seen to great advantage. 

No. 313. 4 Boppart on the Rhine/ C. F. Tom- 
kins. A right good picture, one of many excel - 
lent works of the artist. 

No. 320. 4 A Cottage Girl/ C. Baxtbr. ▲ 
picture of good promise, sweetly composed, and 
well coloured. 

No. 373. "The Vale of Llangollen/ T. C. 
Hotland. Mr. Holland this year contributes no 
large work ; but he exhibits small pictures, painted 
with his accustomed ability ; beautiful ana accu- 
rate copies of veritable nature. 

No. 389. 4 The Garden Seat,' J. W. King. A 
new name ; the work is sound and good ; fell of 
fine feeling and taste. 

No. 407. 4 Chrysis, the Priest of Apollo/ J. 
Wilson. 44 Saul among the Prophets !” Who 
would have expected to see John Wilson painting 
poetry ? Yet, here is a proof that he can do it; 
and cb it well. 

No. 408. 4 Genevra/ A. Egg. A work of 
44 high” class— we do not use the word in re- 
ference to its position. The characters of the 
lovers are admirably expressed ; its tone of colour 
is firm and manly. In all respects it is a work of 
great merit. 


Digitized by 


104 


THE ART-UNION. 


[May, 


No. 42. 1 Sunset, near Hastings/ A. Clint. 
A landscape of the best class. 

No. 509. ‘ Prayer/ H. O’Nbil. One of the 
sweetest and most touching works in the collection ; 
full of expression, and composed in the purest 
spirit. 

No. 510. 4 Phaedra/ H. Lb Jbunb. A capital 
study, possessing qualities that give assurance of 
the artist’s eminence hereafter. 

No. 518. * At St. Valery-sur-Somme,' H. Lan- 
caster, A landscape of considerable merit. 

No. 519. 4 The last Quateino/ E. Latilla. A 
pair of youmr ltalian scapegraces gambling. Painted 
with great ability; and to our minds to be preferred 
before the more ambitious productions of tne artist. 

It is unnecessary to say that, in th*8 compara- 
tively brief notice, we have passed over many 
pictures of merit — many that will repay a careful 
examination. We have, however, we believe, 
commented upon the best ; and we have no desire 
to offer any remarks upon those that call only for 
censure. As a whole, tne collection is not a satis- 
factory one ; and, for the reasons we have given, 
is not to be regarded as affording proof of what 
can be achieved by British artists who do not oc- 
cupy first places. 

THE LOUVRE. 

We resume the subject of the exhibition, accord- 
ing to our promise, to give a few details of some of 
the more remarkable pictures. Of religious sub- 
jects, and there are many, none interested us so 
much as the unfinished work of M. Buchot, a 
4 Repose in Egypt.’ It possesses all the material 
and mechanical merits which we formerly remarked 
as at present so generally characterizing the painters 
of the French school; but it is, besides, full of 
feeling and poetry, expressions of that higher gift 
of genius which no study nor practice can teach. 
The subject is differently treated from the usual 
manner. We commonly see, in the * Repose in 


seems to implore his heavenly Father to protect 
those earthly parents to whom his childhood is 
entrusted. The painter has given to the infantine 
head of Christ a character entirely distinguishing 
him from ordinary children, without losing the 
peculiar features of infancy. There is an expres- 
sion of elevation, feeling, and intelligence, as if 
he saw into the immense future for which he is 
destined, that quite goes to the heart, and gives 
such a character to the picture, that this work 
alone would stamp M. Buchot a true painter. 
There is also a sketch by his hand, a study for 
a picture, which we can imagine might have be- 
come a companion for his 4 Funeral of Marceau 
it is Napoleon on the heights of St. Bernard, 
showing to his soldiers the fertile plains of Italy 
spreading below. M. Buchot has caught ana 
idealized, in an elevated style, those rough mili- 
tary traits which often inspired the soldiers of the 
empire, which others have given in their popular 
form, and which are well preserved by M. E. M. 
de St. Hilaire in his 4 Traditions of the Empire.’ 
The sight of these works of M. Buchot renews 
our regret that the artist is withdrawn from so 
bright a career. His friends mourn a double loss, 
especially his father-in-law, Lablache, himself an 
enthusiastic lover and a good judge of painting. 

4 Christ entering Jerusalem/ by M. Joseph Jouy, 
is a well conceived picture, and not defective in 
execution. The manner in which all the accessary 
personages are conducted, so as to lead the atten- 
tion to tne principal one, is particularly to be ad- 
mired, also the dignity so well expressed in the 
figure of Jesus. M. Murat’s 4 Hagar in the Wil- 
derness' is a clever picture ; so, also, is M. Blan- 
chard’s 4 Noli mi tangere;” though a little cold 
in execution, it has solid merit. 

The 4 Christ in the Temple/ by M. Lousteau, 
has much of nature ; but there is a want of eleva- 
tion in the treatment of the subject. M. Carbil- 
let exhibits a repentant Magdalen, possessing nearly 
the same good qualities and the same defects as 
the last-named picture. M. Mareschal, of Metz, 
whose pictures we so greatly admired last year, 
gives us, in the same noble and severe style which 
then distinguished his works, a part of a painted 
window intended for the cathedral of Metz. The 
subject is the 4 Apotheosis of St. Catherine.’ The 


life and truth which are combined with the other 
high qualities of this picture render it, in our eyes, 
a true example of religious monumental painting. 
We trust we may often again meet M. Mareschal 
in this elevated region of art. Of the other two 
works he has in the exhibition we shall speak 
afterwards. 

Among historical pictures, their immense size 
draws the eye to two works, one by M. Vinchon, 
the other by M. Omer Charlet. We may safely 
assert that both would have gained greatly by 
being confined in smaller dimensions. To M. 
Vinchon the size was perhaps not a matter of 
choice, as it is painted for Versailles, and may be 
intended to fill a certain space. The subject is, 

4 The Opening of the Chambers, and the Procla- 
mation of the Constitutional Charter in 1814.' 
The scene is well expressed, and the planes of the 
different groups detach themselves clearly, though, 
on the whole, it appears to us that in this vast 
page of painting there is more facility of hand 
apparent than deep study. The subject of M. 
Omer Charlet’s work is 4 Jean Guiton, Mayor of 
Rochelle, animating the Courage of his Fellow Citi- 
zens at the Siege of that City in 1614.' The co- 
louring of this picture is both true and strong, 
and the general effect good ; but we recommend 
to this young artist the study of the great masters, 
in order to acquire a deeper knowledge of what 
constitutes a truly grand style. M. A. Hesse’s 
picture of 4 Godfrey de Bouillon before the Em- 
peror Alexis Comenus/ is executed in all its parts 
with correctness and ability. 4 The Assembly of 
Protestants surprised by Catholics/ by M. Karil 
Girardet, is true in expression and cleverly painted. 

M. Gu£ gives two pictures, which are like his 
other popular works, full of details, and contain an 
immense number of figures ; in both he has been 
successful, and the public are attracted and pleased 
this year as formerly. The subject of one picture 
is the 4 Three Maries at the Tomb of Christ ;’ the 
other is entitled 4 Raymond VI., Count of Tou- 
louse, being reconciled to the Church/ although 
the reconciliation consists apparently in the Pope's 
legate making him enter the church with a stole 
round his neck, and administering a flagellation 
with rods. The curious historical details contained 
in this picture increase much the interest it ex- 
cites. M. Roger exhibits a picture intended for 
the Galleries of Versailles ; the subject is the 4 Pope 
Leo IX.. Prisoner of Humphrey and Robert 
Guiscard/ He is receiving from his two con- 
querors, who are kneeling before him, the hardest 
conditions ; and M. Roger has skilfully availed 
himself of this singular contrast, and has treated 
the scene with much dramatic effect. 

Among the many pictures of varied subjects not 
strictly historical, we have already noted several ; 
we would further observe, on the two crayon 
drawings by M. Mareschal, that we see with re- 
gret in these works a change in his manner. The 
severe disciple of Masaccio and Giorgione appears 
here in a style of exaggerated softness, even a sort 
of return to the French School at the beginning of 
the eighteenth century. Why is this ? It should 
not be in one who has so true a feeling of the 
beautiful as M. Mareschal has shewn. His 4 Young 
Girl playing on the Grass/ appears to us also false 
in taste, in composition, and there is a degree of 
uncertainty in tne draw 


him ; Plato and the King making their philosophi- 
cal observations. 

There are many battle pieces, subjects little 
adapted to interest in painting : they seldom 
tell their story ; we see soldiers, but we do 
not know what they are doing, or are going to do, 
— if the battle is a great one, they dwindle into the 
size of flies, and all we see is smoke and confusion, 
men and horses, some standing, some down on the 
nearer parts of the picture. Many think a battle 


in taste, in composition, and there is a degree of 
uncertainty in tne drawing. A young girl, half- 
undressed, does not play on the grass in these 
days. We must fancy her a nymph or a Naiad, 
or some individual of an extinct genus— and yet 
the looks of M. Mareschal' § young girl are living 
and modern, and not suited to such a view of 
things. We much prefer his other work called 
4 Distress/— a youth in a slight bark in a storm. 
He guides his little vessel with much spirit and 
firmness ; and the exertion he makes is expressed 
in every limb, not by a contraction of his features. 

The wrestlers of M. Sturler are modestly 
called a study, but that cannot prevent our seeing 
that they are painted with ^reat force and expres- 
sion and form an excellent picture, the group being 
very happily arranged. We pass over the usuiu 
tribes of chained rrometheuses, Herculeses con- 
tinuing their long labours ; Ledas and Psyches that 
are never wanting on the walls of exhibition-rooms. 
Also several subjects from antiquity ; but of these 
fewer than usual. 4 The Damocles’ of M. Leon 
Viardot is especially pleasing, from the composi- 
tion being somewhat new on this well known sub- 
ject. The banquet is not given — only Damocles 
in the intoxication of power, the slave who serves 


nearer parts of the picture. Many think a battle 
cannot he well imagined by one who has never 
seen one ; and in proof of this, the painter of battles 
whose fame is greatest, Borgognone, was himself a 
soldier, and served various campaigns. In the 
solitude of the cloister in after years, he recalled 
the scenes of his youth, and left them to posterity. 

Perhaps it is best for an artist to choose an 
episode in a battle as the subject of his picture, and 
keep the battle itself as an accessary. This subject 
requires a further explanation than we have here 
room for, but at a future time we may return to it ; 
in the meantime we may name tne ’Battle of 
Ncesels’ (1799), by Mr. Charles Langlois, as 
possessing much effect and strong colouring ; and 
the 4 Defence of Mazagran/ by 5L Felen Phuippo- 
teaux, has much merit in the details. 

Among the landscapes, which are many and ex- 
cellent, we may add to the names of those already 
mentioned, a very remarkable 4 Interior of a 
Forest,' by M. Theophile Blanchard ; a 4 Stream 
in the Campagna of Rome/ by M. Chevandier ; a 
fresh and charming 4 Scene in Provence/ by M. 
Gresy. Of flowers there are some well painted 
pieces by Mdlles. d’ Arson and Polon, and by 
Messieurs Lesourd, St. Jean, and Jacober. 

Many pictures, in every class equal in merit to 
several that we have noticed, remain undescribed, 
because we are unwilling to tire our readers by a 
list that becomes as long as a catalogue. On the 
whole, further observation and comparison has led 
us to believe, that the general opinion of the exhi- 
bition of this year coincides with that we ex- 
pressed in the beginning of our first article, that 
the pictures attaining a certain standard are 
many — that bad pictures, truly bad, are scarcely 
to be seen ; but that works of that high class that 
move and interest the feelings and elevate the 
mind, are rare indeed. We do not mean to be 
understood as not considering painting also as an 
art that may amuse ; we only wish that painters 
should regard this and other arts as a means of 
contributing to high social ends. We like a waltz 
by Strauss, but we feel ourselves better after listen- 
ing to the 44 Creation" by Haydn. 

VARIETIES. 

Royal Commission or Fink Arts. — We 
direct the attention of British Artists to an 
advertisement printed in the first page of our jour- 
nal, issued by the 44 Commissioners appointed by 
the Queen for inquiring whether, on the rebuilding 
of her Majesty’s Palace at Westminster, wherein 
her Parliament is wont to assemble, advantage 
might not be taken of the opportunity thereby af- 
forded of promoting and encouraging the Fine Arts 
in the United Kingdom ; and, secondly, in what 
manner an object of so much importance might be 
most effectually promoted," announcing that they 
44 have resolved, that it would be expedient, for 
the furthering of the objects of their inquiry, that 
means should in the first place be taken to ascer- 
tain whether Fresco painting might be applied with 
advantage to the decoration of tne Houses of Par- 
liament.'' 

This announcement is sudden and startling ; but 
it is also very gratifying and highly satisfactory. 
It is a proof that the country has been roused m 
earnest : and that the Fine Arts in Great Britain are, 
at length, to be aided by the British Nation. We 
received this advertisement almost on the eve of 
going to press ; it is, therefore, impossible for us 
now to do much more than point it out to the 
artists generally — by whom, universally, it will be 
carefully read and considered. Next month we 
shall be a condition to comment upon it ; and to 
canvass, upon all points, the vast advantages to 
which the national project, now clearly developed, 
cannot but lead. The document is honourable to the 
Commissioners. It was utterly impossible to have 
produced one more distinct, more comprehensive, 
or more satisfactory, in all respects, it contains 


Digitized by VjiUUy Lv. 



1842.] THE ART-UNION. 105 

two passages especially cheering and encouraging : 
they are these : — 

1st. 44 The Competition will be confined 
to British Artists. 

2nd. 14 Her Majesty's Commissioners w : ll 
announce , at a future period , the plan which they 
may adopt in order to decide on the merits of 
candidates for employment as Oil Painters, 
and as Sculptors/' 

a Now the most ardent advocates for paintings in 
oil, and the most strenuous opponents of works in 
fresco, cannot, and we believe, do not, object to 
ornamenting yarts of the new Houses of Parlia- 
ment, in a style net#, generally speaking, to British 
artists, but excellence in which they are surely as 
capable of achieving as any of the painters of Ger- 
many, Italy, or France. There can be no question 
that the parts so embellished will be such as are 
particularly suited for fresco; and comparatively 
unsuited for any other style. We cannot doubt 
that the same sound judgment and good taste, by 
which the Commissioners appear to have been 
hitherto guided, will be exercised in all their deci- 
sions and upon all their arrangements. The ar- 
tists and the public have confidence in the Com- 
missioners— and in their accomplished and up- 
right Secretary, who, they will readily believe, 
has not been an idle looker on or an indifferent 
spectator when the reputations and interests of his 
brethren were at stake. It would be indelicate to 
say more upon this subject ; but it would be un- 
just to say less. That confidence is now extended 
and confirmed ; the Commissioners have entitled 
themselves to the gratitude of the profession, and 
of the British people ; and the royal Prince, who is 
at the head or them, has established a new claim 
upon the affection of the Nation. 

His Royal Highness has attended every 
meeting of the Commissioners that has yet been 
held ; and takes the warmest interest in the pro- 
ceedings. 

His Royal Highness the Prince Albert, on 
Tuesday, visited, attended by Charles Barry, Esq., 
R.A., and C. L. Eastlake, Esq., R.A., the new 
Houses of Parliament — or rather their foundations. 
He remained within the building for above two 
hours, inspecting every portion of it minutely, and 
comparing the progress of the work with the plans 
of the artist, which he had in his hand. His 
Royal Highness subsequently went into Westmin- 
ter-hall, where Mr. Barry explained his proposed 
decorations, &c. 

The Opinions of Cornelius.— The opinions 
given by Cornelius to the Commissioners, when 
examined by them, during his brief stay in Eng- 
land, touching the decorations of the Houses of 
Lords and Commons, more especially in reference to 
fresco, have been privately printed for the Com- 
missioners. Although we have seen the document, 
we do not consider ourselves justified in printing it. 
Nor is it necessary, inasmuch os it will be intro- 
duced into the 44 Report" of the Commissioners 
now preparing, and which we shall probably be in a 
condition to comment upon next month. 

.Prizes at the British Institution. — The 
four prizes will be announced shortly; but. we 
understand, no inconsiderable difficulty has oeen 
experienced by the directors in allotting them ; the 
best pictures having been painted undoubtedly by 
those who received prizes last year, and who are, 
therefore, excluded from competition. We confess 
we are not surprised at this circumstance ; for it is 
unquestionable that few artists contributed their 
best works. We imagine that two prizes of £100 
each will be more likely than four prizes of £50 
each, to induce candidates to enter the field ; the 
sum is not sufficient to induce a painter to with- 
hold his best work from the Royal Academy. We 
believe that no pictures have been 44 sold" at the 
Institution during the past month ; but, of course, 
the prize gainers in the Art-Union will, by this 
time, have visited it. 

The Royal Academy.— 44 The Exhibition" 
will be opened to the public on the 2nd of May ; 
to-day (April 30) the private view takes place. 
We hear that it will be, m all respects, admirable ; 
and have reason to believe that the rumours of its 
great excellence are well founded. As the public 
will so soon have an opportunity of judging as to 
its merits, it is needless for us to offer any remarks 
concerning it until next month, when its contents 
will be under review. 

Wilkie's Works. — It will be observed by an 
advertisement in our pages, that the works of Sir 

David Wilkie will be exhibited at the Gallery of 
the British Institution soon after the close of the 
present exhibition, which is to take place on 
Saturday next. 

Aktists’ Benevolent Fund.— We hope our 
readers will bear in mind that the anniversary 
dinner of this admirable institution will be held at 
the Freemasons' Tavern on Saturday, the 7th of 
May, when Lord John Russell will preside. It is 
needless for us to do more than give this announce- 
ment an institution so valuable, so necessary in- 
deed, in the most emphatic sense of the term, de- 
mands the support or every artist, every lover of 
the Arts, and every true patriot. The good it has 
effected, and the suffering it has prevented, is im- 
mense. In all respects the plan upon which it is 
conducted is admirable ; we shall, in some degree, 
test the sincerity of an artist's affection for bis 
profession by his absence from, or presence at, 
this meeting. 

Woollett, the Engraver.— We earnestly 
seek to direct the attention of the lovers of the 
Fine Arts to an advertisement which appears in 
another column of our journal, to obtain a sub- 
scription for the purpose of raising a sum of money 
by which an annuity might be purchased for the 
daughter of Woollett, the celebrated engraver, a 
lady now in her 69th year, and who in the decline 
of her life is left without any resource. The name 
of Woollett is one so deservedly eminent in the 
annals of Art that it will survive to the latest 
period, and be held in respectful remembrance by 
all who possess a knowledge of his works. But a 
stronger appeal than to the tastes only of his ad- 
mirers is now made ; their sympathies are de- 
manded in favour of one who is the only surviving 
member of his family, and we trust they will be 
promptly manifested. 

Decoration of the Houses of Parlia- 
ment.— We have read, and with considerable plea- 
sure, an able article in Blackwood’s Magazine 
for March, 44 Thoughts upon the Modes of orna- 
menting the New Houses of Parliament." With 
many of the details of the writer we cordially 
agree, but we cannot admit the general conclu- 
sion, that scriptural or ecclesiastical subjects, are 
alone or predominantly historical. The argument 
is based after all upon the decision of this ques- 
tion — What is history ? In a wide sense it may 
be defined — the narrative of the progress of the 
social state. It cannot be separated from facts ; 
it must rest entirely on reality. So long as this 
is borne in mind, the ballad, the picture, or the 
elaborated narrative are similarly historical in de- 
gree. The old Castilian poetry, contains muti- 
lated historic fragments ot the most tender feel- 
ing, so does the Nibeiungen Lied ; and we our- 
selves could scarcely pardon the critic who denied 
the historical character of Chevy Chase ; and, we 
think, that of the pictures of the great masters 
would be hardly doubted. History descended to 
the earth, 44 when the earth was without form, and 
void, and darkness was upon the face of the deep ; 
but the Spirit of God moved upon the face of toe 
waters.'* It was to trace this great and merciful 
First Cause, in that sublime truth — His moral 
government of the world — and to show His un- 
ceasing. guiding, and sustaining influence that 
history did so descend. But it is said, particular 
history, as that of separate nations, cannot do 
this ; it must have an universal character, which 
Scripture history can alone possess. Now this 
we doubt. The history of any one nation, is a 
chapter of the universal history of man. Treated 
in a comprehensive and enlarged spirit, it is suf- 
ficiently! extensive in its perceptions, to enable us, 
in some degree, to comprehend that mighty whole. 
But it is again objected — history must not be 
ideally treated ; your portraits must be authentic. 
We answer, every nation has a sufficient conven- 
tional belief in this respect, which, if you disal- 
low, you forbid the treatment, historically, of 
every Scriptural subject. What authority have 
you for the portraits of the patriarchs, our Sa- 
viour, the apostles, or martyrs ? None whatever. 
The truth is — it is the spirit of history which is to 
be represented, the form is a secondary subject ; 
yet we have more authentic portraits of the hero, 
or the statesman, than even the most rigid re- 
quisitionists would require. To the introduction 
of allegorical representations we are in some de- 
gree . opposed. The allegorical spirit was pre- 
dominant in the middle ages, and was greatly nur- 
tured and encouraged by the influence of the 

Christian religion. The prohibition of sensibl* 
images of the Deity fostered the propensity origi- 
nally among the Jews, and this was continued in 
the early Christian church, and assumed a cha- 
racter partly chivalrous from the oriental influ- 
ence of the crusades, or mixed impressions of east- 
ern and western civilization. Christianity itself 
cannot be either philosophy or poetry. It is the 
groundwork of all philosophy, it is far above all 
poetry. All allegorical representations, familiar 
as they may be, and pregnant with poetic or phi- 
sophic truth, soon cease to affect us — the idea is 
lost in its type. To our minds, the events of Eng- 
lish history have sufficient motives, to exhibit 
social progress, and to become lessons expressive 
of moral truth and national greatness. The va- 
riable and incidental form they may assume, 
neither weakens their interest or impairs their 
efficacy. In a word, our artists should per- 
petuate great events, and the benefits conferred on 
their country by illustrious men. Not.heroes whose 
names are 

44 By children questioned, and by msn despised ;” 
but such as in the lines of Juvenal we might sup- 
pose he would allude to, even when as a satirist, 
he surveyed the history of Rome : 

44 Sed tu vera puts : Curias quid sentit, et ambo 
Scipiada? quid Fabricius, manesque Camilli? 

Quid Cremere legio.et Cannis coosumtajavsntus 

Tot bellorum animae, quoties bine talis ad illos 

Umbra venit?*' 

Composition Seals. — A packet containing a 
score of composition seals has been transmitted to 
us, per post, from Cork. They are produced by 
Mr. F. R. Lewis; and the artist lias received a 
medal for his ingenuity from the Royal Irish 
Academy. We cannot say of what material they 
are made ; buc they are as hard as stone, and the 
impressions they give have all the sharpness and 
delicacy of genuine engraving. Some of our spe- 
cimens are large, others are so small as to be about 
half the size of a split pea ; yet, small or large, both 
have the same extraordinary fineness and neatness 
of line. From a list that accompanied our supply, 
we find that the 44 stock" of Mr. Lewis contains 
about 200 44 subjects," of every imaginable variety, 
crests, initials, mneiful devices, nay whole verses ; 
with, of course, coats of arms, a discretion. We 
have used them, and find they answer all the pur- 
poses of far more costly acquisitions ; giving no 
annoyance from adhering to the wax, and produc- 
ing, as we have stated, brilliant impressions. And — 
the great marvel yet remains to be told — they are 
issued by the producer at one shilling each. The 
curious may test our recommendation by trans- 
mitting a shilling through the post to Mr. F. R. 
Lewis, King-street, Cork, in exchange for which 
he will return one of his seals. 

Painters' Etching Society. — The work — 
the Poems of Gray — 44 in progress" by this society 
is, we understand, to be 44 edited " by S. C. Hall, 
Esq., F.S.A. , who has relieved the artists from a 
labour of no inconsiderable difficulty to those whose 
previous habits and pursuits have not rendered 
them familiar with the task. Indeed, it appears 
almost indispensable that a superintending mind 
should be placed over such a publication ; there 
are so many small, but important, matters to be 
attended to in the arrangements and the 44 getting 
up" of the work, upon which experience only can 
adequately determine and direct, that the artists 
considered it wise to apply to Mr. Hall for his 
asssistance; and they nave tendered him their 
thanks for 44 the ready and generous manner in 
which their request was complied with." 

Lithotint in Chancery. — On the 21st ult. 
the Vice-Chancellor, Sir Launcelot Shadwell, gave 
judgment on an application made by Mr. Hancock, 
the animal painter, for an injunction to restrain 

Mr. Hullmandel, the lithographer, from practising 
his recent invention of lithotint ; Mr. Hancock 
alleging that the patent for the lithotint process was 
an infringement of a patent obtained three years 
ago by him, 44 for a new method of producing 
figured surfaces sunk, and in relief, and for printing 
therefrom." Mr. Hancock's specification is volu- 
minous, and contains several clauses ; but the main 
object of that portion of his patent alleged to have 
been infringed by Mr. Hullmandel, appears to be 
the obtaining of a higher relief than usual from 
metal plates, by using aquatint ground, for taking 
impressions by surface-printing with a common 
press ; lithographic stone being used only when a 
higher degree of relief is required, and then not 



106 THE ART-UNION. [May, 

for printing from, but to serve as a mould in which 
stereotype casts could be taken for printing. The 
process of lithotint neither requires nor admits of 
relief ; for the drawing may be made as well on 
a stone having a polished as a granulated surface ; 
and the process of printing, like that of ordinary 
lithography, is not of a mechanical hut a chemical 
nature. Lithotint, indeed, is only a modification 
of the process of lithography, made for the pur- 
pose of obtaining impressions from graduated tints 
of liquid ink applied to the stone with a brush, in 
the same way as Indian ink or sepia drawings are 
made on paper. M. Hullmandel’s patent is not 
for making the drawings, but for printing them ; 
which has been often tried by lithographers, but 
always without success ; so much so that the thing 
had been pronounced impossible by a commission 
appointed in Paris to investigate the subject. Mr. 
Hullmandel succeeded by using an aquatint ground 
to cover over the drawing, and protect the tints 
from the action of a powerful acid, which he ap- 
plies to the stone to prepare it to yield impressions. 
This appears to be the point wherein Mr. Hancock 
supposes that his patent is infringed ; but without 
reason, for the aquatint ground is used by him and 
by Mr. Hullmanael for entirely different objects. 
The case was argued before the Vice-Chancellor, 
by Mr. Stewart and Mr. Elderton for Mr. Han- 
cock ; and by Mr. Girdlestone and Mr. Rotch for 
Mr. Hullmandel. The affidavits on both sides were 
numerous : those on the part of Mr. Hancock in- 
cluding Messrs. Priest and Cotman, artists, and 
Messrs. Day and Fairland, lithographic printers ; 
those on behalf of Mr. Hullmandel including 
Messrs. Harding, Haghe, Boys, Gauci, Scharf, 
and Walton, lithographers ; Messrs. Stanfield and 
Brockedon ; and Dr. Faraday, the eminent che- 
mist. Much curiosity was excited in court by 
Mr. Hullmandel producing a lithotint drawing 
made by Mr. Harding, and subjecting it to the 
process described in his specification, in presence 
of Sir Launcelot Shadwell, to whom an impres- 
sion, taken at the moment, was presented : on 
which his Honour wittily remarked, that this 
was a new kind of 44 drawing in equity.” The 
effect of the Vice-Chancellor's decision was vir- 
tually to refuse the injunction, leaving Mr. Hull- 
mandel 14 free to act as if the case had never been 
mentioned,” with liberty to both parties to apply 
to the court on the subject of costs, at a future 
time ; his Honour reserving the consideration of 
costs until the finding of a jury, or the refusal of 
the plaintiff to bring his action at law, should de- 
termine, absolutely, whether or not there was any 
infringement by Mr. Hullmandel of Mr. Han- 
cock's patent, a matter of fact that it was the espe- 
cial province of a jury to decide. 

Afghanistan. — We have been favoured with a 
view, at Messrs. Graves’, of a set of sketches which 
have been just transmitted to England from the 
scenes of our late disasters in Afghanistan. The 
views are twenty-six in number, and are accom- 
panied by twenty-two vignettes scarcely less in- 
teresting. They are from the pencil of an amateur, 
James Atkinson, Esq., superintendent-surgeon of 
the army of the Indus ; and upon safe grounds we 
affirm that we have never before seen amateur 
drawings so well worthy to rank with the better 
productions of the profession. The drawings are 
to be lithographed by Haghe, and the publication 
of such a series at this time will aid powerfully in 
illustrating the difficulties to which an army is ex- 
posed in such a country. Some of the most re- 
markable views are — 4 Tne Entrance to the Bolan 
Pass from Dadar.’ Here the passage is flanked by 
heights, everywhere covered by Beloochees, Who, 
safe in their positions, poured a deadly fire upon 
our devoted countrymen. 4 View of the Mountain 
Baba-Naunee, called Kutl-Gahor;' 4 The Ap- 
proach to the Fortress of Kwettah ;' 4 The City of 
Kandahar ;' 4 The Fortress and Citadel of Ghuz- 
nee, & c. 4 Entrance into Caubul 4 The Main 
Street in the Bazaar at Caubul ;' 4 The Balia Hissar 
and City of Caubul from the upper part of the 
Citadel.’ The Balia Hissar is a fortress situated 
on a rocky eminence, and has been famous in all 
letters ana despatches from this place. Another 
view presents Caubul from a burying-ground. 
Among the vignettes are portraits and figures de- 
scribing better than in words the costume of this 
part of Asia. There are 4 Beloochees in the Bolan 
Pass,' portrait of Khan Shereen Khan, a portrait 
of Schah Sooiah Ool Moolk, &c. By all in- 
terested in Indian affairs at this moment (and who 

|s not ?) the publication of these views must be 
‘ooked forward to with intense interest. 

Hayter’s Picture of Her Majesty^ Mar- 
riage. — This national picture, which has been 
known to have been some time in progress, is 
finished, and is now being exhibited at Messrs. 
Graves’, iu l’ull-Mall. The ugroupment of the 
figures is as near the reality as possible in order 
and arrangement. Few things in painting are 
more difficult than the execution of a work 
like this, in which the artist is bound down by 
rules, tbe transgression of which is at once fatal to 
his work ; and the rules under which he has here 
laboured are the most rigid and the least indulgent 
to effect in the whole round of Art. Every figure 
is a portrait; and all the foreground personages 
are full-length, and brought forward in a manner 
to try most severely the truth of the various well- 
known impersonations, which, as far as we have 
had opportunities of observing, cannot be chal- 
lenged. The resemblances of her Majesty and 
her royal consort are perfect ; in fact, the instant 
the eye rests upon any figure the prototype is at 
once remembered if be or she have been but once 
seen. As identities which must strike every one 
who sees this work are the portraits of the Dukes 
of Cambridge and Sutherland, the Queen Dow- 
ager, Lord Chancellor Cottenham, the Duke of 
Bedford, Lord Melbourne, Duchesses of Cam- 
bridge and Kent, Dukes of Wellington and Devon- 
shire, Marquis of Anglesey, Lord Belfast, &c. &c. 
The principal effect of the picture is managed 
with infinite delicacy and feeling. The principal 
light falls, as it should do, upon the Royal Pair 
immediately in front of the altar, whence the 
strength is graduated in a masterly manner to 
the remote parts and the background. The 
figures in number amount to between forty and 
fifty, and the whole tell against the wainscot of 
the chapel, which is sobered down to charming 
mellow background tone. In addition to the 
portraits of the persons already named there are 
also those of Earl Howe, Prince Ernest of Saxe- 
Coburg, the Marquis of Westminster, Mar- 
chioness of Normanby, Duchess of Sutherland, 
Duke of Saxe-Coburg Gotha, Duchess of Hamil- 
ton, Archbishops of Canterbury and York, Prin- 
cess Sophia Matilda, &c. &c. The picture, which 
is the property of her Majesty, is about to 
furnish an addition to the list of national en- 
gravings ; but no engraver has as yet been 
named for the execution of the plate. 

The “Unique Bible.” — It is gratifying to 
learn, that the list is again opened for the names 
of persons desirous of obtaining this profusely 
and beautifully illustrated copy of the scriptures. 
It is still in the possession of Mrs. Pances, of 
Golden-square, who, we have pleasure in adding, 
is again in a position to carry out the propositions 
of the prospectus. The number of names deficient 
is only about 120. 

The Wellington Statue. — The plaster cast 
of Mr. Wyatt’s work is at length completed; and 
persons acquainted with this department of model- 
ling will readily understand the delicate and peril- 
ous nature of the enterprize of transferringto 
plaster, a design of such vast proportions. This 
was of course effected piecemeal, and necessa- 
rily in small portions ; but such does not appear, 
so carefully has the work been conducted to its 
present stage. Some idea of its magnitude may be 
formed, when we say that the mounted figure rides 
twenty-eight feet high, and beneath the hind quar- 
ters of the horse there is space enough to admit a 
man on horseback. A model of such proportions 
cannot be justly estimated as we now see this ; the 
effect of which in any studio, however extensive, 
must be vitiated by every disadvantage. The 
Battle of Waterloo is the passage of the Duke's 
life to which the action of the statue refers. He 
points with his right hand in the supposed direc- 
tion of the arrival of the Prussians, and is speak- 
ing of their presence to his staff. The features are 
in expression becoming the occasion; and the 
figure rides with firmness, but also with much 
ease. The head of the horse is the perfection of 
animal portraiture, and the movement full of 
natural truth. The tail would have been better 
had it been more massed ; it hangs somewhat in 
in the manner of wet hair. The costume is the 
usual uniform, over which is thrown a short cloak, 
such as the duke even yet wears. A plume sur- 
mounts the hat, an addition for which we were not 
prepared, as he generally appeared without it. The 

limbs of the horse strike the spectator as somewhat 
long, an effect which we doubt not will be removed 
when the monument is seen on its destined. site. 
Towards the end of this month the model will be 
cut up for casting, which with the adjustment of 
parts and final completion will occupy two years. 

The ingenuity and professional skill with which 

Mr. Wyatt has thus far conducted this national 
work cannot be too highly eulogized. 

The Collingwood Statue. — The monument 
which some time ago was proposed to be erected 
to the memory of Lord Collingwood, is in progress 
by Mr. Lough. The clay model is completed, and 
stands eight feet high ; out this is onlyone-third 
of the intended height of the figure. The design 
is distinguished by its simplicity and good taste. 

The figure is erect, with the head uncovered, and 
it derives support and relief from a cloak which is 
thrown over it — a most judicious arrangement, 
considering the proposed magnitude, material, flee, 
of the work. This important work is to be ex- 
ecuted in stone, and placed near Tynemouth 
Priory, whence it will be visible at sea. 

Architectural Card Models. — Messrs. 
Reeves and Son, Cheapside, are exhibiting a model 
of Westminster Abbey cut in card -board by E* 
Andrews, of Guildford; it is an elaborate and 
beautiful piece of execution. Several other smaller 
specimens of churches and chapels are also to be 
seen with it. 44 Mr. Andrews lately exhibited two 
models of the Pavilion at Brighton, and St. George's 
Chapel, Windsor, to her Majesty and Prince Albert, 
who were graciously pleased to purchase them, and 
grant him their patronage.” 

Mr. George Barnard is about to publish a 
volume of sketches, to be called 44 Scenes and In- 
cidents of aTourin Switzerland,” with Descriptions, 
so soon as a sufficient number of subscribers 
names are received by the artist, or by Mr. 
M 4 Lean, Haymarket, who has several of the ori- 
ginal drawings on view. They are clever and faith- 
ful, and give a fresh and distinct idea of the wildly 
picturesque features of Alpine scenery. 

Sales of the Month, Past and to Come.— A t 
tbe sale of Sir David Wilkie’s sketches, noticed it 
length in another part of the paper, the under-named 
drawings were sola for prices as affixed 

First Day.— Pen and Ink Drawing* — ‘ Tbe High- 
land Smuggler brought before a Magistrate— design for 
a picture,’ 419 18s. 6d. ; * Blind man’s- Buff,’ 431 IQs. ; 

4 The Escape of Queen Mary from Loch-Leven Castle,' 

413 2s. fid. ; * The Arrival of a Rich Relation, .422 is. ; 

* Fox on the Hustings,’ 412. Chalk Drawing*—' Study 
from the 44 Gentle Shepherd”— a Woman dressing her 
Hair,' 410 10s. ; 4 The Gipsy, from the picture of Jose- 
phine and the Fortune-teller,’ 412 Is. fid. Tinted Draw- 
ing*—' Burying the Scottish Regalia,’ 427 6s. ; * A 
Summer Shower, 49- 

Second Day. — Sketch** made in Ireland—' Con- 
fession’— signed and dated, 46 16s. fid. ; ‘ A Street 
Scene, Dublin’— signed, 46 15s. Chalk Drawing*— 

* John Knox administering the Sacrament,’ 439 18s. ; 

* Arrival of a Rich Relation*— signed, 427 6s. Sepim 
Drawing*— * The Duke of Wellington, whole-length* — 
signed and dated, 418 18s. ; * Cranmer seated, his auras 
bared’— very spirited, 411 Us. *, ditto, slightly tinted, 

48 18s. fid. ; * Columbus,’ 412 Is. fid. ; ‘Grizzel Baillie 
bringing Food to her Father during his concealment,* 

48 8s. ; 4 Queen Adelaide and other Figures on a stabs 
case,* 412 Is. 6d. Tinted Drawing* — ‘ Columbus ex- 
plaining his Chart to Queen Isabella,’ 411 Us. ; 4 Samuel 
and Eli,’ 421 10s. fid. 

Third Dk^.— Chalk Drawing*—' K Woman with a 
Comb,’ 45 5s. ; < A Figure,’ 48 15s. ; 4 Drawing a Net,* 
415 15s. Tinted Drawing*— 1 A Woman with children,* 

48 88. ; ‘ The Earl of Kellie,* 45 5s. ; 4 A Negro in the 
picture of Josephine,’ 431 10s. ; * Study for the Whis- 
key-Still,’ 425 4s. ; 4 Sir David Baird discovering the 
body of Tippoo,’ 410 10s. ; 4 George tbe fourth’s Entry 
into Holyrood,* 410 10s.; 4 An East Indian,’ 48 8s. ; 

4 The Serenade, Seville,’ 416 5s. fid. ; 4 The First Ear- 
ring.’ 421. 

The sum realized by the first day’s sale was 
4496 13s. fid. ; by that of tbe second, 4488 15a. 6d.s 
and the third, 4409 Ifis. fid. 

On May 3, Messrs. Christie and Manson will sell the 
stock of engraved copper-plates and impressions the 
property of the late Sir David Wilkie, comprising the 
plates of all his most celebrated works. 

On May 6, they will sell s collection of pictures by 
the most eminent English painters, formed by that dis- 
tinguished patron of British Art, Robert Vernon, Esq., 
who, being in possession of many sped mens of the same 
artists, disposes of tbese to make room for the works a t 
others whose names do not occur in bis collection. 

On May 13, Messrs. Christie and Manson will seO tha 
select collection of John Turner, Esq. ; among which 
are 4 The Rabbit on the Wall* by Wilkie, and nat 
other very choice works by eminent artists. 




Iby VjiOOv It 


1842 .] 


THE ART-UNION. 


ART APPLIED TO MANUFACTURES. 

NO. III. — INSTRUCTION IN THE ART OF DESIGN 
— STUDY OF THE HUMAN FIGURE— DUPUIS’ 
MODELS. 

Hitherto we have considered the study of form 
by means of drawing only so far as the elementary 
teaching of delineation : up to which point it is an 
exact science that may be acquired by any intelli- 
gent person. We now enter upon the considera- 
tion of the Art of Design, the practice of which 
requires skill and knowledge of a peculiar kind, 
and the exercise of taste and invention. It is not 
only possible, but desirable that every one should 
possess the power of defining on a flat surface by 
means of lines, the form and relative proportion of 
any object correctly and intelligibly ; this power 
in relation to the Art of Design, being analagous to 
the ability to express in writing a simple idea: 
on this base of science, of which the study of the 
cube is the corner stone, is to be erected the beau- 
tiful edifice of the Art of Design, with all its 
various parts ; any one of which separately may 
suffice to occupy the mind of the student who 
would attain complete mastery over it. The prin- 
cipal departments, viz., Architecture, Landscape, 
the Human Figure, Animals, Plants, and what is 
termed Still Life, are again modified according to 
the style of representation, as drawing, modelling, 
painting in oil or water colours ; and the purpose 
of the imitation, whether for pictures, sculpture, 
or ornament. They are further subdivided by the 
different manufactures to whose use they may be 
required to be made subsidiary, as architectural 
decoration, furniture, carpets and hangings, 
pottery and glass ware, cotton, silk, and lace dra- 
pery, goldsmith’s work and bijouterie, & c. Thus 
three branches of study are requisite to each depart- 
ment ; namely, knowledge of the class of natural 
objects to be imitated, of the style of art to be 
adopted, and of the purpose to which the art is to 
be applied. It is important that this classification 
of the various branches of Art should be borne in 
mind, because it is only by acting on the division- 
of-lahour principle, that an adequate degree of 

S erfection can be attained by the mechanic -artist. 

o soon as the student is able to draw correctly 
and neatly any given object, he should choose the 
style of ornament he intends devoting himself 
to, and begin by studying the manufacture in 
which he is to work, be it furniture, pottery, 
drapery, or what not. When he knows the requi- 
sitions of his department, he will be able the more 
quickly to seize upon those features in natural ob- 
jects which are most available to his purpose ; and 
be qualified to represent them in the characteristic 
maimer of his peculiar craft. The different phases 
of Art as applied to ornament being conventional 
deviations from the true representation of painting 
or sculpture, it becomes necessary, first, for the 
student to learn to draw what he sees, without 
reference to this conventional manner : this will give 
freedom and power of volition to his adaptation of 
nature to the particular modification of Art, that 
a hand and eye cramped and distorted at the out- 
set by restriction to conventional mannerism, can 
never acquire. Therefore we are opposed to 
teaching elementary drawing from artificial re- 
presentations, in which natural forms are twisted 
to the purpose of a conventional style : for 
instance, to begin by setting a pupil to draw 
architectural ornaments, whether Grecian or 
Gothic, not only cramps the hand, but for want 
of a preliminary understanding of the character- 
istics of the style, he is unable to imitate what is 
before him with the freedom and facility resulting 
from intelligence. It ought to be an axiom in 
teaching, that imitation should never go beyond 
understanding : a distinct and complete idea of the 
object to be drawn should be formed before its de- 
lineation is commenced ; at least a perfect compre- 
hension of all that is to be represented is a neces- 
sary preliminary. Hitherto, the practice of the 
student from models has been mechanical, and he 
has proceeded on scientific grounds : he has been 
copying solid objects of regular form, smooth sur- 
faces, and with few curves (we allude to Mr. 
Deacon’s models), and has only had occasion to 
observe accuracy of outline and evenness of shad- 
ing. He has copied all he saw, just as it ap- 
peared to his perceptions : now he has got to learn 
the art of selecting the points to be seized upon ; 
in other words, he must know how and what to 
indicate and to leave out. A correct and firm out- 


line is the first thing to be attained, and the last to 
be got rid of, by filling it up with light and shade ; 
so that the outline in the drawing shall appear, as 
in the reality, the result of the form, not the form 
a result of the outline. To accomplish this, the 
outline and the lines constituting the shride must 
be so expressive as to suggest the quality of the 
surfaces and depth of the hollows as well as the 
precise external shape of the object ; and yet the 
lines indicating these characteristics should be as 
few as possible, consistent with the end sought for. 
It is a common mistake to suppose that the greater 
the elaboration of a drawing the stronger the 
imitation, and the more striking the idea it 
gave of the original ; and much time and useless 
labour has been wasted in finishing, when 
every step beyond a certain point has been a de- 
parture from the spirit ana truth of the repre- 
sentation. The excellence and charm of a sketch 
consist in the lively indication of the character 
and form of anything by a few expressive lines j 
and in proportion to the proficiency of the 
draughtsman will be his skill in this suggestive 
power of indication : at every stage of his pro- 
gress the skilful artist learns to be able to dispense 
with some labour; because, from amongst the mul- 
tiplicity of lines he selects the few that are abso- 
lutely necessary to figure the object, from knowing 
which are the leading points on which the truth of 
the delineation depends. This power is the result 
of knowledge and skill combined, and refined by 
practice ana observation ; the expressive quality of 
the drawing will depend upon the liveliness of the 
artist’s perception, and the feeling of his hand. 
Many affect laxity of style and slovenly execution, 
thinking these negligent qualities will pass as de- 
notements of superior power that does not con- 
descend to precision ; but such will never satisfy 
the eye of the nice observer ; their delineations are 
not always intelligible, and never without some 
trouble and a degree of uncertainly. It is erro- 
neously supposed that “ sketching- drawing,” as 
we heard it called, is a sort of royal road to the 
delineation of form; but this is confounding the 
feeble, imperfect outline of a tyro, which is vaguely 
suggestive, with the expressive indication of a 
master-hand that conveys a complete and distinct 
idea ; the one a perfect result available and pleasing 
to all, the other a faint approximation to the reality, 
useful only to the person who traced it as a guide 
for his future efforts to reach the truth. 

In delineating objects of complex form, there are 
two courses of proceeding ; the one from the whole 
to the different parts, the other from the parts to 
the whole. It would seem hardly necessary to 
contend that to proceed, from a general com- 

S rehensive idea oi the whole, to a particular un- 
erstanding of the various parts of which it is 
composed, must be the proper course, this being 
obviously the more rational mode of setting to 
work ; but custom has followed the opposite course, 
against which we have, therefore, to show cause. 
The popular drawing books of the human figure 
begin with eyes, noses, mouths, and ears, pro- 
ceeding on to parts of faces, heads, busts, hands, 
and feet, and, lastly, arriving at the entire form ; 
but, though the pupils may have succeeded in co- 
pying the separate features of the face and mem- 
bers of the body with tolerable fidelity, when they 
come to draw the whole they find great difficulty 
in putting the limbs well together, and setting the 
head on the trunk, balancing the figure, and even 
keeping the features of the face in accordance. The 
reason is, that they have learnt neither the con- 
tour nor the proportions of the figure, nor, indeed, 
the details properly ; and however apt the eye may 
have been in catching the general appearance of 
the drawing they were set to copy, tneir want of 
knowledge of the conformation is apparent in the 
unmeaning, slavish, spiritless imitation. Had they 
been first put to draw a strongly-marked outline 
of the whole figure, and made to know the relative 
proportions of the different parts, they would have 
been able not only to understand the details 
better, but also to put them together with re- 
lation to each other, according to their know- 
ledgeof the form. Mere copyists, who follow mecha- 
nically a pattern set before them, may succeed in 
this course, by practice, because all the work of the 
mind is done to their hand ; we have heard, too, of 
artists of great talent proceeding in this way when 
painting an original picture ; but such peculiarity 
is exceptional, and is one of the licences of sur- 
passing dexterity, or genius, which makes laws 


for itself. The course of the student cannot be 
too carefully laid down ; for any deviation from a 
right track at the outset leads to endless errors 
and difficulties, and tedious retracing of erring 
footsteps : keeping, or the due relation of parts to 
the whole, is essential to good drawing ; and this 
can only be secured by a strong and comprehensive 
grasp of the ensemble. M. Dupuis appears to 
have had this object in view in his series of models 
for teaching to draw the human form ; and though 
we venture to express an opinion that he has not 
accomplished it quite so thoroughly as is desirable, 
the adoption of the principle makes them valuable 
aids to instruction, and its application is highly 
ingenious. The set of models, which we saw at 
the Government School of Design — where we hope 
it will be used — consists of bassi relievi of tne 
whole figure, in various attitudes of action and 
repose, half-life size ; heads the size of life, in dif- 
ferent postures ; and colossal hands and feet. Each 
one is modelled with the leading forms blocked 
out, square and angular, like the rough-hewn mar- 
ble for the sculptor to finish, as represented in the 
annexed figures of a hand and foot ; and the same 




are also modelled as finished sculptures. The 
heads are in four stages of development : the first 
resembles a wig-block ; the second, the same with 
the hair, the projection of the nose, and the hol- 
low of the eyes, strongly marked; the third has 
all the features roughed out, as ip the annexed 



figure; and the fourth is a finished head. A 
proof, were any needed, of the consistency of 
this plan with the principles before laid down; 
namely, proceeding from the whole to the parts, 
and advancing in delineation com m ensurately with 
the understanding, was incidentally afforded by 
the circumstance of Mr. Deacon having been de- 
signing a set of models for teaching figure-draw- 
ing on a similar principle, but different in details, 
without being aware or the existence of these mo- 
dels of M . Dupuis. Whether M. Dupuis makes his 
pupils draw the head and extremities of the figure 
before or after the entire figure, does not appear ; 
but, from the circumstance of the head being cast 
in four successive stages of development, it is a 
probable inference that he commences with the 
bead. Mr. Butler Williams,* who uses Dupuis' 

* The mention of this gentleman's name affords the 
desired opportunity of stating, which we have much 
pleasure in doing, that Mr. Butler Williams has im- 
proved upon the French mechanical models, by reject- 


Digitized by 


.oogie 




108 


THE ART-UNION 


models in teaching the drawing classes at Exeter 
Hall, agrees with Mr. Deacon and the writer of this 
paper, that it is preferable to commence with the 
entire figure ; ana Mr. Frank Howard, in his ad- 
mirable little treatises on the “ Science of Draw- 
ing, for the Use of Amateurs,” advocates this 
course. The best teachers of drawing, in setting 
beginners to copy outlines from paper, are in the 
habit of directing the pupil to block out the form 
squarely ; that is, substituting straight lines and 
angular shapes for curved forms — that by this kind 
of exaggeration the hand may acquire freedom and 
spirit instead of a timid ana tame littleness ; and 
M. Villalobos, in his drawing academy, taught the 
drawing from the round on this principle. What 
these teachers direct the pupils tnemselves to do, 
M. Dupuis has done for them in his rough-hewn 
models ; and there is this advantage attending his 
plan, that the pupil is enabled to copy truly and 
with knowledge all that he sees of form in the rude 
blocked-out mass before him. For the purpose of 
ornamental art, or amateur practice, this super- 
ficial acquaintance with the structure of the human 
frame— such a knowledge of its relative propor- 
tions. and the leading points of its anatomy as 
may be acquired by these means — may suffice ; but 
it is essential for students of sculpture and point- 
ing to study the anatomy in the skeleton, and by 
dissection or demonstration. It is desirable 
also for the student of some branches of decorative 
art to go deeper : for this purpose bassi relievi of 
the figure in repose, showing both front and back 
views, might be modelled with one half showing 
the bones only, and the other half the muscles. 
An anatomical statue the size of life showing the 
muscles, and a well-articulated skeleton, are essen- 
tial to every drawing-school, where the figure is 
taught to students of painting and sculpture. 

We hope to conclude the consideration of this 
subject next month : when the publication of the 
Drawing Book for the Schools of Design will fur- 
nish occasion to speak of the progress of the stu- 
dents under Mr. Dyce’s system of instruction. 


THE STRAWBERRY-HILL COLLECTION. 

The pictures, generally, at Strawberry-hill, are re- 
markable rather as curiosities, than as triumphs of 
Art ; and valuable especially as historical and biogra- 
phical accessories. There is, however, among them, a 
portion taking rank with the most transcendent in their 
respective styles, but there is not one first-class picture 
in the entire collection. In turning over the catalogue 
before visiting Strawberry-hill, its pages conveyed im- 
pressions which were effaced by the locale and its con- 
tents. We may complain of this because the inimita- 
ble strain of the Ossianic advertisement breathed a hope 
that it would find a permanent place in the bookcase. 
Now it contains numerous errors— one whereof will 
serve to show what we mean— ex uno then— in page 215 
to the description of a crayon portrait by Rosalba, are 
appended the words, “ Considered one of the best por- 
traits of this matter Now, this matter was a lady, 
and one whose works we have venerated ever since we 
have known the difference between crayon and oil. 

We are led to doubt the originality of many of these 
pictures, inasmuch as they depart from the recognized 
and settled styles of the painters. Even when such 
works are “undoubted,” they are at beat but arrant hu- 
mours of the authors— mere caprictj , bearing, but not 
tuttaining the names that attach to them. The most 
desirable of an artist's works, are specimens of his best 
style ; if these are not procurable, there should he as 
little room as possible to question the originality of 
those substituted. There are, for instance, a * Head’ 
by Cuyp ; ' Kitchen Interior,' by Watteau, &c. Ac. 
Such derelictions of style we cannot estimate highly— 
since in them the artist presents himself in masque- 
rade. Few bouses are less calculated for the display of 
pictures than the villa at Strawberry-hill ; and singular 
enough it is, that many of the best pictures are hung in 
such positions that their degree or merit is with diffi- 
culty determinable. As the space which we can afford | 
to a notice of this collection is very limited ; the few 
pictures upon which we remark are selected with a 
view to quality of execution; others which we pass by 
derive importance only from their antiquity and his- 
torical associations, since to them ajority of these, attach 
all the vices of the infancy of painting. 

"The Tribune,” so named according to Italian usage, 
contains many beautiful cabinet pictures. No. 3. 
(Catalogue p. 133) is a small and beautiful * Landscape,' 
by Muntz. * The Head of an Old Woman,' by Gerhard 
Dtonw 36, in the same room, exhibits in its high 
finish a striking contrast to similar works of Rem- 
brandt the master of Oonw. 36. * A Man and a 
Woman seated in a Garden,' Watteau, is not a valuable 
specimen of the master. The female figure ia evi- 

inr some of Dupuis’ arbitrary forms, and substituting 
others, so as to make them more susceptible of combi- 
nations suggestive of real objects. 


dently a portrait. It is brought forward by a light 
background, but the composition is not so well ba- 
lanced as those of Watteau generally. * The Tempta- 
tion of St. Anthony,' by David Teniers, 44, is a small 
picture— retiring in colour, but spirited and elaborate 
in execution. The subject isgrotesqued, and lie might 
have entitled it * St. Antoine pour rire.’ The Louvre 
contains another more serious version of the legend by 
the same hand. Portraits of * Pselemburg and his 
Wife' (57.) are curiosities, as the work of a landscape- 
painter, of whom Rubens said, “ Were I not Rubens I 
would wish to be Poelemburg.” 

In the room called the Holbein Chamber is a most in- 
teresting and valuable collection of pictures and draw- 
ings, as well copies as originals. Of many of the latter 
attributed to Holbein, it is difficult to believe the authen- 
ticity; as they exhibit, upon close inspection, material 
differences in style. No. 40 (Cat.,p. 199), is a ' Portrait 
of Man in a Black Dress, of tbe time of Henry VIII. ;' 
the companion to which is a 1 Portrait of Frobenius,' 
the printer to Erasmus, finished with singular care and 


tlionisora, Holbinus rara dexteritate dedit;” and, in- 
deed, the “ rara dexteritats” is everywhere conspi- 
cuous. These works must not be considered, with 
respect to the present state of Art, os productions of an 
early period generally are; but if we refer them to their 
epoch of three centuries ago, they cannot be pronounced 
otherwise than wonderfal. Holbein is described in an 
old Louvre catalogue—*' Fils de son pere Jean Hol- 
bein ;" but he must assuredly have been more than 
this. Holbein’s oil miniatures are infinitely preferable 
to his larger portraits ; for in those the hard lines and 
offensive markings of the countenance are softened and 
qualified. There is frequently an unnatural monotony 
of colour, and the hands are picked out of a dark back- 
ground, and so left without connexion with the other 
lights j but, notwithstanding these and other faults, 
Holbein was centuries in advance of his time. No. 86 
(Cat., p. 202) is termed ‘ A splendid old painting, 
representing Henry VIII. and his Family;' the king is 
enthroned, and upon his right stand Philip, Mary, and 
the God of war ; and on his left Elizabeth, attended by 
by Peace and Plenty ; Henry is delivering his sceptre 
to Edward. The name of the artist is unknown ; tbe 
work is distinguished by most of the errors of its 
period— so stiff is the dress worn by Elizabeth, that it 
seems to have been built on to her. Upon the frame 
appear some verses, imputed by Walpole to Qneen 
Elizabeth, wherein she complacently enough claims all 
the vlrtuet of her father and sister. No. 87 (page 283), 
' A full-length Portrait of Margaret Smith, wife of 
Thomas Carye, Groom of the Bedchamber to Charles I.,' 
by Vandyke. This picture was in the Wharton collec- 
tion, and subsequently in that of Sir Robert Walpole ; 
and is an admirable work, maugre some rigidity 
which the artist might even have caught fkrom nature 
in such a habit. The hands, in colour and lightness, 

remind im of Hnmpr'i Umiv. K mav.riiurered mnrn ” 


The Rehearsal of an Opera' (115, page 206), by Se- 
bastian Ricci is a gem of its kind. The corps opera - 
tlque are richly caricatured, being Nicolini, Mrs. Toft ; 
Sir Robert, Rich, &c., &c. Notwithstanding the free! 
dom of pencilling, every tonch has fallen in the proper 
place ? with a care and forethought to amplify the aub- 
rt5V Ve iJ?f r t S f the " h °le. The style of Ricci, who 
dl ®4 *4 I T S4 » ® nd wa8 °f th ® Venetian school, was alle- 

E orical; but in a run of subject like this, we should 
ave been proud of him as an English painter. There 
w a small landscape painted in this picture by Marco 
reP u t alio P within a reputation— on the right 
of which is a beech-tree, worthy to be incised with the 
name of (Enone. “ Face, vive precor, hoc in rugoso 
cortice carmen babes.” 

. R ° und Tower contains six interesting sketches 
bv Rosalba, as she is called, of the Earl of Lincoln, 
Horace Walpole, John Sbute, Joseph Spence, Mr. 
Chaloner, and Mr. Whitesend. Crayon drawing was 
the profession of Curiera Rosa Alba, in which she has 
□ever been equalled. The collection contains other 
works by this lady : they are somewhat faded, but ex- 
quisitively tender. In the Refectory we find, by Rey- 
nolds, one of the finest groups of female heads ever 
painted by him; consisting of portraits of the ladies 
Laura, Maria, and Horatia Waldegrave, daughters of 


agree with the proposition in the auction catalogue, 
that this would form an excellent pendent to the pre- 
ceding. Although incorrect in drawing, it possesses 
many points valuable in portraiture ; but the work of 
Mytens can never pair with that of Vandyke. No. 89 
(in the same page) is * A splendid Portrait of King 
Henry VII., » on panel. The following passage we 

3 note from the catalogue This picture is consi- 
ered incomparable for its truth to nature, expression, 
and chiaro-scuro— the character and thought in the 
countenance, and its exact conformity with the 
bust by Torregiauo, in the Star Chamber, make it 
unquestionably a portrait for which the king sat.” The 
execution ia Oy no means that of the period ; it ia amid 
to have been retouched bv Rubens ; it is true that the 
glazing matter with which it is finished is similar to 
what is found in his worl 


what is found in his works, but in these it is much 
more skilfully applied. 

No. 99 (page 204), ' Richard I., Prisoner to tbe Arch- 
duke of Austria.' This picture is admirably painted, 
but faulty in its chronology. No. 100 (page 204). The 

* Presentation in tbe Temple,’ by Rembrandt, has all 
the characteristics of the master. Tbe shadows are 
less transparent than in other similar pictures, and 
despite the supposition of its “ parity,” &c., some parts 
of the picture appear to have been touched upon. No. 
101 (same page), is a * Landscape, with Cattle,* by 
Gaspar Poussin ; the foreground is in shadow, the effect 
being that of evening. The picture, as usual with this 
artist, is painted on the principal of denying colour to 
shadow. This does not merit tbe reproach so often ' 
cast upon him, of being too green. ' Mademoiselle 
Hamilton. Comtesse de Grammond,’ painted by Eck- 
hardt. The features of this lady are, perhaps, remem- 
bered with more pleasure than those of any of the 
other beauties among whom she is classed. The figure, 
in its movement, leaves the canvas behind it, auu tbe 
morbidexza sets the bosom heaving under its effect. 

* The Original sketch of the Beggars' Opera,' painted 
by Hogarth, No. 114 (page 905). It contains portraits 
or the first supporters of the characters, as tne opera 
was performed in 1728, in Lincoln's-inn- fields. We need 
only say of it, that it is marked by all the spirit of the 
master, and was purchased at the sale of John Rich, 
the celebrated harlequin, and master of the theatres in 

I Liucoln’s-inn-flelds and Covent-garden, for whom it 

I was painted. 


Laura, Maria, and Horatia Waldegrave, daughters of 
James, second Earl of Waldegrave. It is much to be 
lamented that this really valuable picture is seen in 
such an imperfect light. We may presume that it has 
occupied its present position, perhaps ever since it was 
painted, and the tones seem to have flattened and 
drooped under the privation of light, a most dangerous 
test for those pictures of Sir Joshua, upon which be 
may have experimented. The ladies are assembled 
round a work table, and the rigidity and stateliness 
of the female costume of the last century is here 
charmed into ease and grace. Much that might have 
been unbecoming ia veiled, and that which could not 
be veiled, is rendered ornamental. * The Education 
of Jupiter,' by Poussin, No. 46, page 211, is a fine 
picture, and infinitely preferable to many of tbe highly 
prized works by him in the Louvre. 

The long Gallery contains many admirable pictures, 
a few of which we must be content, from want of space, 
merely to name. No. 55, page 213, is a * Portrait of 
George, Duke of Buckingham,' by Rubens; 58, ‘An 
Interesting Interior,' by Old Franks ; and 59, a * Por- 
trait of Mr. Leneve,' by Cornelius Jansen ; near which 
hangs a portrait of the son of the Inst named, by Sir 
Peter Lely, more sober in tone and in better taste than 
hia works generally. By Sir Joshua Reynolds, 71, 
p. 214,18 a ‘ Portrait of James, second Earl of Walde- 
gravc*,’ of high value, and extreme beauty ; tbe pendant 
to which, the Widow of the above Nobleman, paiuted 
also by Reynolds, is a most beautiful female bead, and 
equal in ita kind to the productions of any school and 
any time. The figure is supported by a smokey back- 
ground, from which it comes out with singular bril- 
nancy. No. 82, page 215. called ' The Exterior of a 
Kitchen, <kc., is described in the catalogue as a work 
or Watteau. It is in every respect the very antipodes 
or bis style, yet may have been one of his facetUe , for 
of such he had many. 

No. 89 (Cat., p. 216) is * A splendid gallery picture, 
whole length Portraits of Catherine de Medici and her 
Children, Charles IX., Henry III., the Due d’Alen*on, 
and Margaret Queen of Navarre,’ by Janet. This pic- 
ture is full of that kind of truth, the contemplation of 
which, in nature, is offensive, but in art positively 
painful. The work has every appearance of having 
been left in an unfinished state; the flesh-colouring 
seems not to have been advanced beyond a flat and 
mealey dead colouring, and the drawing is feeble, 
graceless, and full of imperfections. Notwithstanding 
the number of figures, there is no agroupment; no 
understanding between them ; each is unconscious of 
the presence of the others ; the heads possess, how- 
ever, one great merit of old portraits— they are full of 
character; and the features of Catherine we cannot 
describe better than by the title of a book written by 
herself : they are “ Le Miroir de l’ame peeberesse.” 

There is, by Mark Garrard, a whole length * Por- 
trait of Frances, Duchess of Richmond ;’ ana by Van- 
somer, a whole length of * Henry Carey, Lord Falk- 
land,’ which suggested to Horace Walpole tbe idea of 
the figure moving out of frame, in the “ Castle of 
Otranto.” The picture is in a very insufficient light, 
but obviously or no great merit. In the blue bed- 
i chamber is a family composition, containing ‘ Por- 
traits of Sir Robert and Lady Walpole:’ small fall 
lengths ; tbe former in bis robes. Tne likenesses are 
painted by Eckard, from miniatures by Lincke, and 
other portions of the picture by Wootton. Accessories 
are thrown in to typify the condition and tastes of 
both.' The laboured finish of the picture is inimical 
to brilliancy ; we find, therefore, much stiffness ; no 
connexion between the figures, which are both looking 
out of the picture, and all the precision of a conscious- 
ness of being painted. 

To the miniatures, their histories and associations 
an entire book would scarce do justice. “ Tbe collec- 
tion of miniatures and enamels,'’ says Walpole, “ is, I 


may not believe that miniature Minting has not ad- 
vanced since the days of Queen Elizabeth ; but such is 
the fact, this Art has, like the crab in the fable, been 
progretting—obliquit pattibut 


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1842 .] 


THE ART-UNION. 


109 


THE ART-UNION OF LONDON. • 

SIXTH ANNUAL DISTRIBUTION OF PRIZES. 

The eagerness of the public to enrol their names 
as subscribers in this excellent Association, as the 
time approached for closing the lists, was very 
extraordinary. During the two last days the office 
was literally besieged, while two or three clerks 
could hardly take the subscriptions fast enough. 
One post, it is said, brought no less than £700 
from the country ; and, to sum up all, the total 
subscribed amounts to £12,900, being again, as it 
has been each year from the foundation of the 
Union, more than double the amount of the pre- 
vious year’s subscription. This must be most 
gratifying to all who desire the prosperity of the 
Arts in England : from artists themselves gratitude 
is eminenUy due to those gentlemen who have 
worked out this great result, and who still devote 
their time and energies, without one selfish motive, 
to advance its interests, and to induce a right appli- 
cation of the large funds now placed at the disposal 
of the prize-holders. The honorary secretaries in 
particular, Mr. Godwin andMr. Pocock.have, toour 
certain knowledge, worked night and day for some 
time past in this “ labour of love,” to perfect the 
arrangements and attain a satisfactory result — con- 
duct which, as it entails much personal sacrifice, 
cannot be too highly honoured. 

The progress of this Association, from the time 
when two or three gentlemen first met to arrange 
the plan to be pursued, up to its present position, 
has been singularly rapid. In the first year the 
amount collected was £489 6s. ; in the second 
£757 Is. ; in the third £1295 14s. ; in the fourth 
£2244 18s. ; and in the fifth, namely, last year, 
£5562 18s. Again, as we stated before, the amount 
is more than doubled ; and it is hardly possible to 
say where its progress may stop, short of the whole 
adult population of the kingdom. The Art- Union 
of London has become national in importance, and 
on its proper guidance may depend the future state 
of the Fine Arts in England. 

Tuesday, the 25th of April, having been fixed 
for the annual distribution of prizes, a meeting 
was held for that purpose in Drury Lane Theatre- 
no other available building in the Metropolis ap- 
pearing likely to be large enough for the expected 
assembly. We shall presently give some details of 
the proceedings ; but first extract a few passages 
from the “ Report;” much of the information con- 
tained in it, relative to its former progress, its 
present state, and its future prospects, we have 
already published ; it is, therefore, needless to oc- 
cupy space by giving the whole of it entire. We 
feel bound to state, nowever, that it is an exceed- 
ingly clear, comprehensive, and satisfactory docu- 
ment, written in a style of considerable ease and 
- elegance. 

« * * * ' * * * * 

44 In the last Report made to the subscribers the 
progress of the Society was traced from the first year 
of its establishment, when the amount collected was 
j 6489 6s., to the close of the year 1841, when your com- 
mittee congratulated the members on having attained 
a subscription of 465963 18s., an amount which some 
considered would not be exceeded in future years. On 
the present occasion, however, they have the pleasure 
to state that thenumber of members is 11,919, of whom 
one subscribes 10 guineas, one 7 guineas, thirty-three 
5 guineas, four 4 guineas, fifteen 3 guineas, one hun- 
dred and eighty-three 2 guineas, ana eleven thousand 
six hundred and eighty-two 1 guinea each, making a 
total of 4613,905 1 Is. 

« « * * * * * 

44 Pursuing the statistical details of the Society’s 
operations, one hundred and thirty- two pictures, and 
one piece of sculpture, were purchased by the prize- 
holders of the year 1841, at the cost of 464330 19s., 
being 4668O 19s. more than the total amount of prizes. 
A list of these works of Art was printed at the end of 
the last Report, so that it is not necessary to introduce 
it here. They were exhibited four weeks, by the kind 
permission of the Society of British Artists, in the 
Suffolk-street Gallery, together with the varions 
engravings issued by the Art-Union. For the first 
three weeks the members and their friends were 
a Imitted by tickets, and for seven days afterwards the 
public were invited by advertisements to visit the 
gallery. 

44 It was estimated that during these four weeks no 
less than 75,000 persons viewed the collection, and it is 
a gratifying circumstance to record that, notwith- 
standing the pressure occasioned by the crowded state 
of the rooms, not one accident occurred. During the 
exhibition a large number of catalogues were sold, by 
which means a considerable sum of money was rea- 
lised. With this amount, derived for the most part 
from visitors, your committee propose to commence 


the formation of a 4 Reserved Fund,* to be increased 
hereafter by the addition of all moneys accruing to the 
Society, other than the actual subscriptions of the cur- 
rent vear. By this means the future stability of the 
Art-Union will be rendered more certain, the trustees 
secured with regard to prospective engagements with 
engravers and others, which it may be desirable to 


secured with regard to prospective engagements with 
engravers and others, which it may be desirable to 
make, and a fund will be provided, wherefrom Art in 
the abstract may ultimately be aided, without any 
sacrifice of the subscribers’ pecuniary interests. 

« * * * * * 

41 Formerly, the number of impressions required in 
order to present to each subscriber a copy of the print 
would have thrown great difficulty in the way of the 
Society’s operations. Lately, however, science, in re- 
turn for the many benefits derived by her illustrative 
art, has come in powerfully to the aid of her ally, and 
your committee hope, by means of the electrotype 
process, to be able to present to every member a per- 
fect impression of the various prints which may be 
issued by the Society. 

44 For the subscribers of the present year Hilton’s 


picture, 4 Una entering the Cottage,’ has been placed 
in the hands of Mr. W. H. Watt, to be engraved in 
line. 

44 Relative to engravings for future years, your com- 
mittee have the pleasure to state that, by the kindness 
of the respective owners and artists, Sir Augustus 
Calcott’s picture, 4 Raffaelle and the Fornarina,’ be- 
longing to Sir George Philips, and Mr. Mulready’s 
picture, ‘The Convalescent,’ the property of Lord 
North wick, will be engraved for the Society. 

« « * * * * * 

44 Reference has been made to the illustration of the 
Report. Your committee, wishing to obtain an appro- 
priate device, wherewith to head the Society’s papers, 
offered a premium of 10 guineas for a design in outline 
for the same. More than 100 drawings were sub- 
mitted, and from those your committee selected one, 
which was found to be by Mr. F. R. PickersgiU. The 
subject of It is 4 Minerva encouraging the Sister Arts.’ 

44 There were, amongst the drawings, several other 
very excellent designs, and your committee, desirous 
of rendering the Annual Report interesting to the sub- 
scribers generally, and so inducing its preservation as 
a record of the Society’s operations, as well as to aid. 
although slightly, the art of wood engraving, selected 
two other devices, which, by the kina liberality of the 
authors of them, they are enabled to engrave for its 
adornment. 

44 The first (without reference to the order of ment) 
is by Mr. Bonomi, and is described as 4 Minerva re- 
plenishing the Lamp of the Genius ofArt.’ The second 
is by Mr. Selous, and represents 4 Genius nurtured in 
the lap of the Society.’ The three are engraved re- 
spectively by Mr. Thompson, Mr. Orrin Smith, and 
Mr. Jackson. 

44 The receipts for the current year amount to 
4612,905 11s., and the disbursements to 4610,572 9s. lOd. 

1 44 The amount set apart, according to the foregoing 

statement, for the purchase of pictures, statuary, or 
other works of Art, viz., 468900, will be allotted as 
follows 

60 works of Art, the value of 

4610 each — 166OO 


40 


15 

600 

44 


20 

880 

80 


25 

750 

26 


30 

780 

20 


40 

800 

14 


50 

700 

10 


60 

600 

8 


70 

560 

6 


80 

480 

6 

(| 

100 

600 

3 

9t 

150 

450 

2 

n 

200 

400 

1 

># 


300 

1 

n 


400 

271 



468900 


44 To these may be added 20 bronzes before men- 
tioned, making 291 works of Fine Art ; in addition to 
which, 10 casts, in plaster, of the marble figure of 
4 A Magdalen,’ purchased by a prizeholder of last year, 
will be distributed. 

******** 

44 Unwilling, however, to interfere with the prize-hold- 
ers' right of choice, your committee are not disposed 
to alter the present regulations, but desire to impress 
strongly on those who obtain prizes the necessity of 
using the utmost care and judgment in their selection; 
to the end that the great object of the Association, viz., 
the advancement of the Fine Arts, and the elevation of 
the general taste, may be satifhctorily attained. To 
appreciate the highest efforts of Art, education and 
study are necessary. The power to enjoy these, and the 
manifold delights this power brings with it, will not 
come by inspiration, but must be sought for dili- 
gently. All can comprehend the merit of a faithful 
imitation of a familiar object; most persons can 
value representations of special and individual na- 
ture, so to speak. These however, useful and de- 
lightful as they may be, are not the works which 
elevate the beholder and immortalize the artist : it 
is universal and general nature which Genius 


grasps and delineates, which exists everywhere in 
parts, nowhere as a whole ; which, when represented, 
is called the Ideal, but is, in reality. Nature freed from 
the disfigurement of accidents and circumstances, 
viewed at large and from on high. Ability to eqjoy 
such works (almost equally as to produce them), must 
be gained slowly and with effort. Rich and ample, 
however, will be the reward of the endeavour, and most 
sedulously should it be made. Let those who mistrust 
their present power of judging, should they to-day gain 
the right of selecting prises, take prudent counsel ; and 
let those works of Art be sought for which speak to 
the mind rather than to the eye. Certain it is, that 
only by pursuing such a course may great good be ex- 
pected to result from the Association. 

44 For the two chief prizes your committee would 
strongly recommend subjects from the Bible, from 
some incident in British history, or from some English 
author, animated by a desire next to that of illustrating 
the holy scriptures 44 to enlist British art more imme- 
diately in the service of British history and British 
literature.” 

44 Sculpture they trust will not be disregarded by the 
prize-holders, so that the younger professors of this 
elevated art, encouraged by the prospect of that aid 
from the public, which, as yet, has not been given to 
them in England, may be induced to labour strenuously 
to advance themselves in their profession. 

44 To the artists of theUnited Kingdom generally, your 
committee, in concluding their report, would point out 
the present scheme of prizes as an index in part of 
what the Art-Union of London may expect to require 
next year; and they venture to express a hope that 
efforts will be made to produce, not merely pictures 
for the wants of to-day, but works for posterity. Simply 
a pecuniary return for his labour and ability cannot 
be the aim of a true artist,— of one proud to say, 44 1, 
too, am a painter;” to induce new ideas and images, 
to uphold and inculcate the beautiful, to infiuence the 
growing mind of a country, to enlarge and elevate the 
enjoyments of a world,— these are the motives which 
lead to fame, and may end in immortality. Let, then, 
oor young artists, in applying to the task so prompted, 
address themselves to the mind, and satisfied now that 
their endeavours will not pass unrewarded, find their 
chief delight in the production of truth and beauty, 
and know no higher reward than the exercise of their 
art. Every step forward will be a source of increased 
gratification, and every fresh triumph make succeeed- 
log triumphs more easy. 

44 George Godwin, jun. \ u __ „ 

44 Lewis Pococe, J Hon. Secs. 

The scene in Drury-Lane Theatre on the 26th 
was, without exception, the most gratifying it has 
ever been our lot to witness. Every part of the 
huge building was crowded ; boxes, pit, slips, and 
gallery, were literally crammed ; and we under- 
stand many hundreds went away “for want of 
room.” On the stage seats had been arranged for 
the committee ; but this portion of the theatre was 
also thronged. From an estimate formed by those 
who are best able to give an opinion, it is be- 
lieved there were not less than five thousand per- 
sons present ; and there can be little doubt that a 
vast majority of the immense assembly were there 
far less from motives of curiosity, than an earnest 
interest in the business of the day, and a sincere 
desire to advance the great purpose of the Institu- 
tion. 

An apology having been made for the absence of 
his Royal Highness the Duke of Cambridge, in 
consequence of indisposition, the chair was taken 
by Beqjamin Bond Cabbell, Esq., one of the 
earliest and warmest supporters of the Society, 
and a gentleman who is distinguished for his zea- 
lous co-operation with every public institution 
having for its object the public good. Having 
made a few brief introductory remarks, he called 
upon George Godwin, Esq., F.R.S., one of the 
honorary secretaries, to read the Report. 

Its adoption was moved by Hughes Hushes, 
Esq., M.P., and seconded by W.Wyon, Esq., K.A.; 


both gentlemen alluding in general terms to the 
gratifying results which had already followed the 
establishment of the Society ; its great augmenta- 
tion of means within six years from its commence- 
ment ; the immense amount to which the subscrip- 
tions of the present year extended ; and the vast 
sums likely to be realized hereafter, by the Insti- 
tution, for the fosterage, encouragement, and re- 
compense of British genius. 

S. C. Hall, Esq., F.S.A. (Barrister -at-Law), 
having been called upon to move a resolution of 


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THE ART-UNION. 


[May, 


thuya to the committee, finding a general anxiety 
to proceed to the business of the meeting— the 
prises about to be distributed being very natu- 
rally uppermost in the thoughts of the sub- 
scribers — made a very few observations in refer- 
ence to the mighty impetus which the distri- 
bution of such large sums — collected in every 
part of the British dominions — had given to 
British Aft; congratulating the subscribers, the 
artists, and the public, upon the gratifying 
results of the year’s exertions, so far beyond 
the calculations of the most sanguine, and at- 
tributing these results mainly to the untiring 
energy and undiminished zeal of the committee, 
by whom the Institution had been guided from 
its small source into its present fertilising and pro- 
ductive channel. Too much praise, he said, could 
not be given to these gentlemen ; for they had 
laboured without a reward, and also without 
patronage — the primary rule of the Society, which 
left the choice of pictures to the prize-gainer, 
taking from the committee all recompense but 
that which they derived from the consciousness 
of the great service they were rendering their 
country, the great benefits they were conferring 
upon the Arts, «n«i the strong claims they were 
establishing to the gratitude or posterity. 


Prize 

No. SuBscaiBKa’s Name. Drawn. 

Drawn. & 

3,186 J. Crafter, Stam ford-street. 16 

4,020 Richard Jerwood, Furnival’s-inn 10 

3,450 Mrs. Skelton, Albany-street 40 

11,461 W. Smithers, Park-place, Greenwich 60 

11,628 Robert Rodger, Glasgow 10 

1,256 Viscount Emlyn, South Audley-street 15 

7,409 George Scrivens. Hastings 20 

2,461 J. M. Warren, Grove, Kentish-town .. 10 

10,636 G. Barnes, Winchester 10 

1,429 W. D. Triquet, Bank of England 10 

5,779 William Jones, Lyon’s-inn 25 

3,784 Henry Purkis, Elm-court, Temple .... 20 

4,298 William Derby, Osnaburgh -street.. .. 20 

11,659 Robert Watkins, jun., Arundel 15 

* “ , Old Change. 


2,336 Anthony Spurr, Old Change 15 

949 Joseph Ede, Fleet-street 50 

2,268 J. Littledale, Norfolk-street, Park-lane 40 

7,668 L. Hodge, Upper Seymour*st., West 

Con naught-square 50 

9,704 J. Owencrofti Mount-st., Nottingham 20 

1,112 T. G. Sambrook, Water-street, Strand 10 

7,601 John Kelk, jun., St. John’s wood.... 15 

6,889 William Marshall, New City Chambers 25 

4,683 James Coles, Old Park, Clapham 20 

5,884 William Dixon, Alnwick 40 


g illiam Hardwick, Grantham.. 

eiinis Pack, Woolwich 70 

899 J. C. Stephens, King-street, Covent- 

garden 30 

10,388 Benjamin S. Simpson, Boston 30 

3,708 Francis Hicks, Mincing-lane 15 

655 Charles Morgan, Farringdon-street — 20 

10,843 William StaUard, jun., Copenhagen-st., 


One or two other 11 motions of course" having 
been made, two scrutineers were appointed, and 
two young ladies were requested — the one to draw 
the numbers, and the other the prizes from boxes 
placed conspicuously upon the tables. 

In giving these few ** business details" of the 
day’s proceedings, it is necessary that we offer a 
few remarks. 

We have given the Institution our heartiest and 
ihost cordial co-operation from its commencement, 
or rather from ours ; for we are younger by some 
two or three years. It required no gift of second 
sight to foretell that its influence upon the Arts 
would be most important and extensive ; but we con- 
fess the results have very much exceeded our most 
sanguine expectations ; indeed, we believe that no 
person had, until very lately, the slightest idea of 
the astonishing extent to which it was destined to 
be carried. We may now very safely prophecy 
that within the next three or four years the annual 
income to be expended in the purchase of works of 
Art will not fall short of £50,000 : we refer to 
Mi# Society alone; for our readers are aware that, 
if we include all the prbvincial societies and those 
of Scotland and Ireland, the sum even now col- 
lected reaches somewhat more than half that 
amount. A mighty engine has, therefore, been 
formed, which, if skilfully, judiciously, and ho- 
nestly governed, cannot fail to produce mighty 
effects. We accept as guarantees for the future 
just, discriminating, and equitable management 
of the committee, the proofs supplied to us by 
their past conduct. It is only bare justice to 
them to state, in addition to what we have said 
<jf their disinterested labours, that they have 
patiently listened to evert suggestion made to them 
for its improvement ; and that they have very con- 
siderably Unproved its constitution, gradually but 
safely, as their means increased ; introducing some 
Changes, and all of them for the better ; and ma- 
nifesting continually an earnest and sincere resolve 
to work the powerful machine they controul, so as 
tp render it really and practically serviceable to the 
Pine Arts of Great Britain. No doubt further 
improvements will occur to them ; let them be 
bold in making them. They received, on the 26th, 
satisfactory assurance that they have the confidence 
of the subscribers ; and they are now certain that 
Changes which may be introduced, so as to render 
the Institution emphatically national, will ob- 
tain the sanction they require. 

We shall have other opportunities Of offering 
such suggestions as we may conceive desirable — 
some of which even now occur to us— and of giving 
publicity to those of our correspondents. 

In giving the list of prizes we have thought we might 
better gratify curiosity by printing them in the order 
in which they were drawn, affixing the “ lucky num- 
ber” to each. The list has been carefully revised, and 
we believe will be found correct. 

Drorn. Subsc.ib.r*. NaMB. DtTto. 

10,601 Plowman, J., Corn Market-st., Oxford 16 

6,464 Mrs. Pearson, Manchester-terrace, 

Liverpool-road 60 

2,610 George Wilson, Great Portland-street 20 


655 Charles Morgan, Farringdon-street — 20 

10,843 William StaUard, jun., Copenhagen-st., 

Worcester 40 

5,878 Peter O’Callaghan, Regent-street 20 

3,323 J. Walton, Lambeth 10 

2,245 E. T. Carver, Hawley-terrace, Hamp- 

stead-road 10 

7.896 Alexander Cross, Paradise-row, Stoke 

Newington 500 

4,389 Mrs. Dale, North End, Fulham 25 

3,915 M. Wiggins, Hans-place, Chelsea.... 25 

2,848 W. C. Bendy, Stamford-street 10 

1,121 John Vallance, Essex-street, Strand. . 20 

4,841 G. H. Palmer, Lincoln’s-inn 30 

8,779 John Dudley, of Corbyn’s-hall, Dudley 30 

7,522 G. D. Skingley, Parthenon Club 20 

9,551 Joseph Schofield, near Bolton 10 

9,403 Thomas Payne, West Bromwich 80 

11,383 H. M Usill, Wisbeacb 20 

3,819 James Scott, Clay-hill, Bromley, Kent Brow* 

9,977 F. Willis, near Stamford 20 

4,052 T. S. Capel, William-st., Blackfriars.. 10 

6,750 Dr. Gairdner, Bolton-street 15 

11,305 John Haddon, Leamington Bronx* 

4,434 Miss Darke, Lord’s-ground 80 

4,888 W.D. Jourdain, Holloway Bronx * 

472 J. B. King, Newgate-street 25 

1,471 George Morant, VVimpole-street 10 

110 A. Urquhart, Lincoln’s-inn-fields .... 80 

3,703 John Luff, Melcombe place 10 

1,989 T. Paternoster, jun., Charlotte- street, 

Fitzroy-aquare 50 

147 Dr. Jefferson, west-lodge, Hampstead 15 
9,594 Charles Ainsworth, jun., near Bolton 80 

6,707 Mrs. Serle, Lambeth 10 

1,392 P. J. Salomons, Upper Wimpole-street 80 

8,807 Robert Stewart, Clitheroe 20 

4,296 C. D. Hodgson, Dean’a-yd.,Westm 60 

8,115 Lord Prudhoe, Whitehall-gardens. ... 15 

2.896 Alfred Hucknall, Bloomsbury-square. . Bronx * 

9,968 F. R. Craddock, Stamford 60 

1,641 Thomas Brough, Bow Church-yard — 20 

I, 388 H. R. H. the Duke of Cambridge, Cam- 

bridge House 10 

10,190 Wm. W. Brooks, Whitchurch, Salop . . 400 

6,260 John Cutts, Witbam, Essex 50 

10,469 B. D. Colvin, Heath Lodge, Croydon. . 30 

3,891 R. Z. S. Troughton. Ciapham-road. ... 100 

3,740 R. Malins, Bedford- place, Russell-sq. 15 

8,285 William Eadaile, Berners- street 50 

3,658 John Bradley, Great Tichfield-street . . 10 

II, 854 John Harris, Southernhay. Exeter — 25 

6,961 William Brooke, Sevenoaks 20 

8,215 Mrs. General Osborne, Chesbunt — . 15 

7,746 Henry Johnson, Bayswater 80 

3,188 S. Fuller, Rathbone-place 10 

6,282 R. C., per Mr. Harwood 70 

3,778 James Selby, Sevenoaks 50 


No. Subscri bee’s Name. Drawn. 

Drawn. 

325 Richard Parry, Newington Butts 20 

7,998 W. Thomas Hooper, East India House 20 

13,274 A. Spenser, Maidstone 16 

7,950 Rev. H. H. Milman, Westminster,... 10 
4,691 Charles White, Paragon, Kent-road . . 25 

9,961 Dr. Watmough, Pocklington 20 

1,750 W. C. Goodwin, Great Ormond-atreet. . Bronx * 

11,497 Thomas Ayres, 8tockton-on-Tees Platter 

6,016 H. W. Scott, Glaashouae-st., Regent-st. 30 

1,151 Joseph Dickinson, New Bond-street.. 70 

10,536 Mias Westwood, Swinford, Dudley ... . Bronx* 

1,107 William Watson, St. Ann’s-lane 300 

8,896 James Taylor, Ryde 20 

1,330 Mrs. Dean, Muswell-hill 10 

9,831 G. Wheeler, Andover *0 

9,424 George Jeffkina, Crosby-aquare 80 

4,416 Mias Wilkinson, Highbury Park 80 

I, 807 J. T. Miller, Millbank *0 

3,462 R. R. Roberts, Spitalflelds 25 

3,833 Richard Steib, Hackney 200 

5,898 Mrs. Perkins, Hampstead 15 

3,637 Richard Quincey, Basing-lane 159 

7,619 M. S. Wilcox, Plumtree-atreet 150 

1,084 F. Bennoeh, Wood-street, Cheapside. . 25 

5,077 J Colling, Parsona-at., Wellcloae-aq.. . 20 

1,932 J. C. Stafford, Oxford « 

3,250 Mrs. Auldjo, Kensington 50 

1,195 William Kilnar. Fleetwood 100 

2,893 R. T. Halford, Montague-aquare 40 

1,000 D. Barry, Skinner-street 70 

514 WiUiam Duff, Clement’s-lane 15 

4,906 H. H. Kennard, Lombard-street *0 

3,488 Miss Agar, Camden-town Platter 

II, 114 B. Bacon, Cambridge 20 

1.666 J. D. Waddington, Winchester 10 

4,882 W. BeU, Fulham 20 

6,968 Richard Wheen. Leyton 60 

6,671 C. J. Anson, Cirencester-place 15 

1,352 John Macmeikan, Loudon Hospital.. 80 

5,537 WiUiam Moresby, Gray's-inn 10 

5.666 Mrr. E. Adcock, Princes-street 15 

\9,418 John Millar, Hampstead-road ........ 60 

2,840 D. Harvey, Nelson-street, Greenwich . 40 

7,010 John Ruck, St. Dunatan’s-hill 10 

5,850 Joseph Manning, CamberweU 25 

9,457 E. Huth, Huddersfield 70 

6,389 — Hurlston, Bridge-road, Lambeth 50 

1,769 Alfred Bell, Baq., Lincoln ’s-inn-fielda 15 

9,294 Thomas Marchant, Deptford 15 

2.032 Thomas Brockley, Hampstead-road.. Bronx * 

860 J. Bird, Oxford-terrace 15 

5,039 Thomson, Lowtber, Cumberland 15 

4,095 John Edmonds, Chas.-8t. f Hatton-gdn. 10 

5,115 John Bent, Kdgehill, Liverpool 30 

1.033 William T. Norman, Plymouth 10 

8,123 J. D. Kennedy, A ustin-fnars. . ...... 60 

4,229 Wm. Horsley, Clarges-st., Piccadilly. . Bronx* 
8,438 Charles Grimshaw, Biddenham, Beds 10 


6,390 Samuel Folscutt, Lambeth 10 

5,678 Edward Foil. Streatham Bronx* 

411 F. Mildred, Nicholaa-lane 80 

11,699 Mias Wilson, Dover 20 

10,511 E. J. Ridgway, Shelton, Hanley Platter 

9,667 John Heaton, Bolton 15 

1,609 Mrs. Campbell, Montague-squ&re .... 70 

8,204 J. W. Watson, Midhurst 15 

10,070 James Fryer, Bewdley 15 

479 James Hutchinson, Highbury 15 

665 J. Humphry, Lincoln’s-inn 35 

8,963 Mra. Sheard, Oxford 10 

'4,059 F. Me Gedy, Keppel-st., Russell-aquare 25 

7,358 Dr. Palethorp, Upper Baker-street 15 

8,712 Robert Mills, Norwich 15 

13,132 W. W. Cracknell, Scarborough 100 

5,258 James Douglas, Bradford, Yorkshire. . 60 

8,920 Robert Pattison, Dorchester Bronx* 

11,229 B. Binfield, Reading 10 


8,438 Charles Grimshaw, Biddenham, Beds 10 

1,283 C. J. Gale, Temple 25 

8,671 Mrs. Norman, Crawley, Sussex 10 

1,844 Henry Woodthorpe, Guildhall 10 

6,422 John Laveaey, Leeds Bronx* 

6,119 W. J. Wickwar, George-at., Hanover- 

square 

4,801 Anthony Nichol, Rock-ferry, Liverpool 10 

11,318 John 9nare, Reading Plotter 

8,430 Messrs. Blackwell, Stonehouse 1® 

767 Sydney Archen Worship-street Platter 

5,452 G. L. Coldrey, Gibson-sqnare, Islington 10 

12,179 C. Havell, Reading. ]0 

6,686 Wm. Garthwaite, Newcastle-on -Tyne 10 

9,067 James Cross, Greenwich Planer 

9,868 J. H. Russell, Birmingham 80 

8,474 James Shoolbred, Euston-square. ..... 25 

3,480 Wm. John Dalben, Northamptonshire 15 

1,176 Alderman Brown, Clapham-riae 10 

1,272 Robert Wingrove, Coleahill 70 

10,891 James Pentreath, Penzance 15 

8,179 R. R- Wood, Bramford, Ipswich 85 

1,168 Robt. Savill, London and Birmingham 

Railway 10 

6,187 H. Morton, Chalcroft-ter., New-cuL. 80 

8,775 George Dalton, Dudley ..•••• 20 

7,877 Felix Slade, Walcot place, Lambeth . . 50 

6,812 Miss Copley, Eaton-place 10 

2,294 John Lowe, of Greenwich W 

7,561 Lord Kinnaird, Lower Brook-street . 50 

6,190 John Ford, Surrey-street, Strand 50 

475 W. H. Watt, Lodge-rd, 9t. John’a-wd. Plaetm- 
6,544 Robert Burford, 5, Furnival’a-inn .... 80 

3,254 Oliver Lathom, Jermyn-atreet 10 

7.407 Hubert Lloyd, Upper Clapton 10 

12,172 J. Maurice, Marlborough 80 

2,811 E. B. Gardiner. Paternoater-row ... 40 

4,479 Thomas Trew, Woburn-pL, Russell-sq. 10 

9,256 John Wade, Deptford 60 

277 A. J. Canham, Snmmerhill, Kent .... 40 

6,167 Frederick Pope, Chippenham, Wilts . . 80 

1.407 Sam. Ware, Hart-street, Bloomsbury 15 

12,350 George Davey, Bristol 1* 

9,509 Lord Bernard Howard, Hyde Park-pl. 85 

8,181 James Pilgrim, Church-ct., Lothbury 95 

10,898 Rev. G. G. Lynn, Hampton Wick .... Bronx* 
2,664 Edward George. Croydon Common .. 10 

6,091 Lewis Cubitt, Great RusseU-street. . . 40 

1,338 Richd. Denew, Cbarles-at, Berkeley-aq. Bronx* 
2,583 F. F. Molini, King Wm. -street, Strand Bronx * 
1,980 Charles T. Bewea, Up. Berkeley-atreet 10 


Digitized by 


ioogle 


1842 .] 


THE ART-UNION. 


Subscriber’s Names. Drawn. 

£ 

H. P. Smith, Crescent, Blackfriars . . 50 

John Webb, High-street, Worcester . 10 

William M'Michael, Bridgnorth 95 

Edward Tatham, Summer-field House, 

Yorkshire SO 

John Scowcroft, Deansgate, Bolton . . 10 

Samuel Solly. St. Helen’a-place 90 

A-Q. Ward, Three Kings-ct. Lombard-st Plotter 

Mrs. Batt, Rvde Bronte 

Mrs. Levett, Millford, Lichfield 90 

Edward Ellis, Harley-street 70 

Thomas Muspratt, Russell-square . . 100 

Charles Pinneger, Caine 50 

— Oake, St. George’s-square, Portsea . 95 

J. H. Smith, Vale-place. Ham mersm ith 10 

Rev. Alfred Bishop, Winchester Bronte 

William Hay, Clillord-st., Bond-street Bronte 
Captain Shea, Conns ught square .... 90 

Jonn Lloyd, Shrewsbury 10 

E. A. Faulder, Oxford 80 

James Stewart. Osnaburgh-street 10 

Henry Steward, Great Wincbeiter-st. 95 

Benj. Bond, Commercial-rd., Lambeth 10 

Henry Bance, Croydon 90 

Georee Sylvester, Trowbridge 30 

W. T. Cooper, Norwich 15 

am Corbitt, Lomba 


William Corbitt, Lombard-street . . 15 

G. H. Child, Fitzroy-equare 20 

Mrs. French, Upper Islington-terr&ce Bronte 

Richard Allen, Trinity-house 40 

Robert Rayson, Stockton-on-Tees 15 

William Pegg, Old Barge House 35 

F. John Law, Luton, Beds 50 

William Essex, Worcester Platter 

Misa Sophia Peto, York-rd, Lambeth . 40 

Henry Humphreys, Exchequer-office 40 

W. H. Alfred, Coleman-street, City . . 90 

John Robson, University Coll. School 30 

John Moore, Bury-street, St. James’s 95 

J. M. Simpson, Southampton Bronte 

J. E. Stablschmidt, Horse-guards 90 

Samuel Grimsdell, Sun-st., Bishopag. 31 

Richard W. Cousins, Orchard-street, 

Portman-square 100 

Thomas Wataon, Upper Dorset-place, 

Clapbam-road 10 

Thomas Bodlev, Brighton 40 

Thomas Griffith, Norwood 15 

Charles Newport, Waterford 15 

James Minet, Copthall-court 40 

J. E. Walker. Temple 10 

Joseph Beadle, Henrietta-street 90 

Lady Montgomery, Beaufort, Sussex . 80 

John Rylands, jun v Warrington 95 

A. Harrison, Birmingham 95 

J. J. Marks, Langham-place 40 

James Myatt, Camberwell-road 30 

D. G. Squirhill, Leamington 10 

Wm. Langdon, London-street, City .. 95 

Rev. James Babb, Plymouth 30 

John Dean Pauli, Strand 40 

Thomas Andrews, Fold-street, Bolton 50 

Geo. Young, Paradise-terrace, Liver- 

pool-road 64 

Henry Cremer, Oak ley- sq., Chelsea . . 150 

W. Cooper, Toddington-pk., Dunstable 30 

T. A. Finninger, Edmonton 15 

James Holmes, Market Weighton ... 35 

Wm. Stone, Panton-street 35 

Harry Lopton, Thame, Oxon 30 


George Hicks, Regent-pl., Regent-sq. 90 

Mrs. Mary North, Oxford-ter. Hyde-pk. Bronte 
Miss Elizab. Elley, Ter., Gray’s-inn-la. 30 

Wm. Danbury, Regent-street 15 

N. Hollingsworth, Gower-street 90 

Sir Thos. Phillips, Newport, Monms. 90 

W. A. Perry, Worship-street 35 

James Sutherland, Derby 100 

C. H. Holman, Jobn-st., America-sq. 30 

Thomas Warner, Cirencester 10 

Cecil E. Bewes, Beaumont, Plymouth 30 

Philip Leyburn, Clapham-road 15 

Mr*. Orrok, Alexanaer-sq., Brompton Platter 
J. Bright, of Sheffield Moor, Sheffield 30 

W. J. Bishop, Falkner-ter., Liverpool 10 

Charles Thomson, Primrose, Clitheroe 30 

Mrs. Mortimore, Chippenham, Wilts, 60 

Henry Vaughan, Cumberland-terrace 15 

George Gabian, Martin’s-lane, City . . 10 

Charles Haghe, Gate-street 40 

Mrs. Conrtanld, Bocking, Essex 10 

Henry Footman, Claybrook, Leicester. 10 

Miss M. G. Baldwin, Torquay 35 

Wm. Nicholson, Peusher, Durham . . 20 


k April, 1842. 


James Whishaw. 


Royal Irish Art Union.— A public meeting of this 
Society was held, in Dublin, on the 19th of April, when 
the bon. secretary, Stewart Blacker, Esq., read the 
Annual Report. It is very encouraging, and anticipates 
a sum of upwards of 4000 guineas ; fixes the last day 
of June for closing the subscription list; and adverts 
to many prospective advantages for the Arts in Ireland. 
SeVen members of the committee retired “ by rotation,” 
and their places were supplied. A few passages of the 


Report we desire to quote, as hints to “the Art Union 
of London.” 

“ We have received from time to time, from various 
of our members, most useful suggestions; some we 
have been able to act on with advantage, but there are 
others which, though well considered in themselves, 
are unfortunately not quite compatible with our rules 
or our present resources. 

“ Our recommendation is to turn our thoughts and 
energies to the obtaining a National Gallery for this 
country, and thus provide suitable objects of imitation 
for our rising artists. 

“Another is the forwarding our purchases of modern 
works to form exhibitions through the principal pro- 
vincial towns, thus rendering the works of our living 
artists more generally known, aa well as exerting ana 
keeping alive a taste for modern Art in the provinces. 

“ A third is the getting up courses of lectures on the 
various subjects connected with the Fine Arts, and by 
this popular mode of instruction, trying to induce the 
public to give the matter greater study and attention. 

“ A fourth is the having a common place of meeting 
for all the lovers of Art, artists as well as amateurs, 

; where books of reference connected with the subject 
may be consulted, or questions discussed, and an inter- 
change of information take place.” 

Too much credit cannot be given to Stewart 
Blaker, Esq., for his exertions in bringing the Insti- 
tution to its present high and balmy state. 

Norwich Art Union.— It will be perceived, by an 
advertisement in onr journal of to-day, that a society 
has been formed in Norwich, under very auspicious 
circumstances. Artists should be directed to the an- 
nounced exhibition of works of Art in that city. 

THE WORKS OF THE LATE SIR DAVID WILKIE. 

The long and impatiently expected sale of these 
works commenced on the 25th ult., and continued 
during the five following days, previously to which 
they were exhibited two days, at the rooms of 
Messrs. Christie and Munson, by whom they were 
sold. These productions in number amounted to 
upwards of 660, in every style of Art, from tbe 
slightest water-coloursketch to the most elaborate 
oil painting. Wilkie’s method of working has 
long been known to the world; it is not therefore a 
matter of surprise that his drawings should have 
grown into number, during a long course of pros- 
perity, as that those particular kinds of sketches which 
are generally the earliest studies of an artist should 
have continued to multiply even as preparatory to his 
latest projected works. Success and the caresses of the 
world frequently operated as a powerful sedative to the 
energies; but if Wilkie’s latter works are not alto- 
gether as good as his earlier productions, it is by no 
means through any lack of labour. A glance at any 
of his pictures brings home conviction, that every ob- 
ject entering into its composition formed a distinct and 
separate theme for study, and was as carefully treated 
as if the success of the entire work had depended 
solely upon such particular perfection. Nothing, how 
insignificant soever in appearance, has escaped his 
notice— nothing has he found unworthy of his pencil in 
preparatory study ; and, although this was sufficiently 
known, it is not too much to repeat it here on the occa- 
sion of these sketches going forth to the world. 

The first day’s sale consisted of academical studies 
and early sketches, among which were ‘ Card Players,* 

* The Clubbist8,’ also sketches for latter works, and 
others that were never executed. * John Knox admin- 
istering the Sacrament,' &c. &c. ; two * Talleyranda ;’ 
study for the unfinished picture of ‘ The School,’ &c. 
&c. On tbe second day were sold the sketches made 
in Ireland, together with many others of hands for 
celebrated pictuies, &c. &c. Tbe third day’s sale 
began with studies of hands, and comprehended draw- 
ings made in Holland and the Netherlands in 1816, 
together with a variety of other morceaux ; many re- 
cognised as prominently figuring in well-known pic- 
tures. 

The drawings made during the last journey of Sir 
David Wilkie were sold during the fourth and remain- 
ing days of sale, together with the finished oil pic- 
tures and various other drawings. In the eastern 
sketches, character is well supported; many of the 
women are beautiful ; and among the men we found tbe 
well-tanned Arab, the ruddy Persian, and many a dash 
of tbe Tartar character. A few of these only can be 
named, though all have elicited universal admiration. 
‘The Sheikh who accompanied the Travellers from 
Jaffa to Jerusalem,’ 450; ‘The Muleteer from Jeru- 
salem to Jaffa,’ 451 ; * Portrait of a Circassian Lady,’ 
462; ‘ The Dragoman of the Austrian Consul at Alex- 
andria; ‘ Madaine Josephine, the landlady of the Hotel, 
Constantinople;’ * The Dead Sea,’ 572 ; * A Sheikh who 
accompanied the party to the Dead Sea,' 573 ; * Ahmed 
Wefyk Effendi,’ 581 ; ‘ Rescind Pasha,’ 582; * Mehemet 
Ali ;’ ‘ Three Greek Sisters at Therapia,’ &c. &c. 
No. 643, ‘The Queen in her Robes.’— Her Majesty 
wears a tiara of diamonds, and is otherwise corespond- 
ingly habited. It is a finished half-length, and less fic- 
titious than other portraits we have seen of tbe Queen. 
No. 646 is a small full-length * Portrait of George IV.’ 
in Highland costume, equally rich, and by no means 
so opaque in the shadows as the larger pictures. 

No. 652. * John Knox administering the Sacrament 


at Calder House.’ Of this picture little has been done, 
the panel being as yet almost blank, with the excep- 
tion of the pnncipal heads, which nave been put in 
with the usual powerful effect of the artist. It was 
designed to supply a pendant engraving to the other 
famous work, * Knox Preaching before Qneen Maiy.’ 
Tbe heads are some ten or a dozen, Knox occupying 
the middle of the picture, bis place having been de- 
termined by two fines crossing the panel at right 
angles. The animus of the work is already distin- 
guishable, and it is as it should be, different fn every- 
thing from the other, in which Is thundered forth the 
blighting anathema of tbe zealot preacher, while here 
would have been read his pax vobitcum. A picture on 
panel, to have been entitled ‘ Samuel and Eli,’ re- 
mains in the condition of tbe preceding, or in a less 
advanced state it may be— five heads have been painted 
in, the rest of the panel being blank. The whole-length 
finished portraits are those of George IV., William fv., 
Queen Adelaide, Queen Victoria, and a head of Wil- 
liam III., begun upon a full-length canvass. Of these, 
that of George IV. is obviously the best. It is an im- 
posing work— the king wears the Highland dress, and 
the heron feather is in his bonnet. He fronts tbe 
spectator, bnt is looking to the right. Tbe feeling of 
portraiture is almost laid aside, for in the work there 
is a measure of pictorial worth raising it beyond its 
class. Tbe portrait of William IV. is perfect in resem- 
blance, but we find throughout a littleness which re- 
minds the spectator of miniature, in the place of a 
more ample treatment which rarely foils to make him 
feel a pretence. The work has been flooded with a 
glaze, which has settled heavy and opaque, rather than 

?iven richness. The great error in Wilkie's large por- 
raits, especially in ceremonial pictures, was his ap- 
: plying to them the same maxims which guided him in 
smaller works : the result has been spottiness, and the 
sacrifice of breadth and brilliancy. 

During his last tour, Sir David Wilkie began eight 
pictures upon panel, the suWect of one of which that is 
somewhat advanced, is * A Tartar relating the News of 
the Capture of Acre;’ another is ‘The Letter Writer* 
—one of the public scribes of Constantinople, writing 
from tbe dictation of a lady who is accompanied by her 
attendant. The writer by the way seems to have made 
the pilgrimage to Mecca, if we may so judge from the 
green Tiand round his cap. Parts of this picture are 
carefully finished. 

No. 662. ‘ The School,’ carries us back to Wilkie’i 
early days ; it is unfinished save the figures, which as 
nsual have been painted first. It reminds us of Jan 
Steen’s school, inasmuch as the two pedagogues are 
the finest fellows of their condition that nave ever 
figured upon canvass. In neither is frand anything 
like the modern pretension to the 

“ Foolscap uniform turned up with ink.” 

Both sit covered, and Wilkie’s genius wears under his 
hat something like the famous tow wig wliich in one of 
Scott’s novels covers a head of kindred material— but 
in our dominie, the head has unquestionably the best 
of it. The composition consists of about thirty figures, 
each of which contributes its quota to the main stock of 
interest. There is a promise of less finish, but not of 
less genuine nature than in earlier works— A Head of 
Talleyrand’ is an extraordinary work. Beyond tha 
mask nothing has been even sketched in, the remainder 
of the panel being bare : the effect, however, is startling 
at first glance, so unlike is it to ordinary productions, 
to every thing of the kind we have seen. The face 
is unfinished ; according to Wilkie’s principles of Art— 
it has been wrought up to the crisis at which he be- 
gan to finish : the features are painted freely and 
firmly, every touch being creative of a spirit of eloquence 
proclamatory of the subtle disciple of Loyola. 

Although this collection contains many of the early 
sketches of Wilkie, it is not to be understood that all 
were assembled here, for many have already enriched 
tbe portfolios of collectors. We trust that this is not 
the last exhibition of the works of an artist the most 
esteemed and most generally understood of modern 
times. We may indulge a hope that the directors of 
the British Institution contemplate an exhibition of 
his pictures. 

Mr. Ferguson— Mr. Ritchie has recently finished 
the model of a colossal statue, designed to be erected 
on the summit of a hill in tne immediate vicinity of 
Dirlton, in Haddingtonshire, to commemorate the lata 
Mr. Ferguson, of Kaith, one of the early patrons of 
Wilkie, and an enthusiastic encourage? of artists and 
of the fine Arts. Tbe design and execution of the sub- 
ject are capital, cleverly modelled and manly in con- 
ception ; tne likeness, by all who have seen the models 
and known the original, is pronounced accurate in 
every lineament. When executed this monument will 
form one of the roost beautiful, as well as tbe most im- 
posing features of the fairest landscape in Scotland. 
The total height of the figure, including the pedestal, 
will be upwards of fifty feet ; and. placed upon tbe top 
of a gentle hill close to tbe sea shore, will form to the 
mariner a most interesting landmark in guiding his 
homeward veering skiff.” 

To the landward it will command an amphitheatre of 
hills, encircling it at a (listauce of nearly twenty miles, 
including Edinburgh on the one side, and Berwick on 
the other ; it will also be a prominent object from the 
Fife shore; while at its base the delightful village 
of Dirlton is spread out on a lawn so sweet, beautiful, 
and freshened by the sea breeze, in such .a manner as 
may challenge competition. , 


Tpizi 


112 


THE ART-UNION 


[May, 


REVIEWS. 

The Wavbrley Novels. “ Abbotsford Edi- 
tion.' 1 Part I. Publisher, Robert C a dell, 
Edinburgh. 

We bail with great satisfaction the publication of 
this work ; as certain to place in the hands of an 
immense proportion of the public, illustrations 
by a large number of the artists of Great Britain, 
in association with the most famous fictions of the 
age. There is no saying how far it may be made 
to operate in extending the influence of the Arts ; 
in rendering excellence familiar to the mass ; and 
in advancing a general taste for, and appreciation 
of, what is really good and true in pictorial em- 
bellishment. The occasion is an important one ; 
we trust the exertions of the liberal and enterpris- 
ing publisher will receive from the painters and 
engravers such zealous co-operation as will con- 
tribute to secure his interests while forwarding 
the great object we more immediately keep in 
view. To illustrate the Waverley Novels, is a 
task worthy of genius commensurate with that of 
the great producer of them ; and we hope the 
majority of our leading artists will engage in it. 
There is no style of Art that may not here find 
ample scope ; every character of subject, from the 
most elevated, and the purely imaginative, to the 
merest matter of fact, may be introduced into the 
pages. The chivalric may suit one; the home 
scenes of Scotland another ; the foreign marvels 
of Nature and Art, a third ; the sea with its in- 
numerable accessaries, a fourth : veritable history, 
a fifth ; the supernatural, a sixth — in short, there 
is no topic upon which the mind can be employed 
so as to give occupation to the pencil, that may 
not be made available, for illustration, so as to 
render perfect this edition of the novels of Sir 
Walter Scott. We earnestly hope that a sound 
judgment and a refined taste will be exercised in 
applying the abundant resources at the command 
of the publisher. Both are very requisite, in dis- 
tributing the several branches of the agreeable 
duty; for it is not only essential that "many 
hands should make light work," but that each 
hand should be employed in the manner best 
suited to its peculiar power ; and to accomplish 
this great purpose effectually, much experience, 
as well as much labour, is necessary. 

The publication is to run through several years ; 
the issue being at the rate of two parts in each 
month, “once a fortnight." It is, therefore, of 
great moment that from the commencement, it 
should be well done : should be made as complete 
and as perfect as the present advanced state of the 
several arts can render it. 

The specimen before us, Part the First, although 
very satisfactory, is not, as it should have been, a 
remarkable advance upon the publications issued 
in monthly parts, that have preceded it; but 
from all we have heard, and much that we have 
seen, we do not hesitate to assure our readers that 
it will be greatly surpassed in excellence bv its 
successors. Several “ mistakes" have ' been 
made, of which we take note with regret. The 
page is too broad for elegance ; a very little less 
breadth would greatly improve it ; and the poverty 
stricken initial letters, “inventions" of the type- 
founder, considerably mar the text. Two or three 
of the subjects are failures both in design and 
execution— we may point to one of them, at page 
39, which does little credit to either painter or 
engraver. 

The work will have an immense circulation — of 
that there can be no doubt— and at present it is 
merely commencing. To point out defects is, 
therefore, not only a duty, but may be useful. 
Even taking into account those that we con- 
sider to exist — but which may be surely remedied 
hereafter — the publication is highly interesting and 
most valuable ; it will prove a desirable acquisi- 
tion to all classes — and is indeed within the reach 
of nearly all — not excepting those who already 
possess one of the editions of the novels ; for this 
will be so full of facte, explanatory of the matter, 
and of beautiful works of Art, illustrative of the 
characters, scenery, and incidents introduced, 
that for reading or reference it will become an al- 
most inexhaustible treasure. 

“ Scenery of the Pyrenees." —We have 
received a few specimens of a work, on the eve 
of publication, to be thus entitled. It will 
consist of 26 plates, executed in lithography from I 


the drawings of William Oliver, Esq., a member 
of the New Water Colour Society ; and are to 
form a volume designed to class with those of 
Stanfield, Roberts, Muller, Haghe, Ac., of which 
it will be in no way, an unworthy associate. The 
drawings “ taken on the spot" are lithographed 
in a very meritorious and effective style ; the sub- 
jects have been judiciously selected, and, taken 
altogether, are perhaps as interesting a series as 
we have ever had an opportunity of inspecting. 
Of their great variety, a passage from the pro- 
spectus wul convey some idea : — 

“ Fertile valleys and verdant plains, cultivated by a 
peaceful peasantry, of pastoral habits and unchanged 
costume — impenetrable forests, clad in rich har- 
monious foliage — cheerful villages, with humble 
church and sainted shrine— clear, cool rivulets, or 
sweet cascade— lakes high in mid air, o’er whose 
waters hangs a death-like gloom— gigantic mountains, 
capped with eternal snows — dangerous passes, accessi- 
ble only to the climbing goat or nimble ixzard— rugged 
and many coloured rocks tossed in chaotic confusion 
— amphitbeatric landscapes of boundless extent and 
grandeur— bridges of snow crossing yawning gulfs— 
subterraneous grottoes— appalling precipices — unex- 
plored caverns ; such is the scenery which the Pyre- 
nean range presents, and which delights and astonishes 
the most experienced traveller, by its endless variety 
and diversified character; affording, with frequent 
and sudden transitions, specimens or every class— the 
simple, the beautiful, the picturesque, the magnificent, 
the grand, the sublime.” 

We shall review this volume, at some length, 
next month ; meanwhile, judging from the speci- 
men we have seen, we give it a strong recom- 
mendation. 

FOREIGN PUBLICATIONS CONCERNING ART. 

Dr l'Art bn Allkmagne, par H. Fortoul. 

Paris, 2 tomes, 8vo., 1842. 

On Art in Germany, by H. Fortoul. Ro- 

landi. London, 2 vols. 8vo., 1842. 

No subject has been probably so much misunder- 
stood, as the rise and progress of modern German 
Art. In its feeling it has been mistaken ; in its 
character despised : or, 

“ Raised in extremes, as in extremes decried,” 
it has suffered as much from the injudiciousness 
of praise, as the injustice of censure. Into the 
cause of the decline of Art, it is needless now to 
enter. The student does not require to be made 
acquainted, the scholar to be reminded; it was 
an effect partly local, partly temporal, assignable 
to various conditions no less of the individual 
than of the social state. Genius was the exciting 
cause, religion the consecrating feeling, enthusiasm 
the motive power of the Florentine. But the 
effect produced by the peat masters of this school 
was as the momentary brilliancy of the sun, which 
sheds far and wide an atmosphere of beauty, 
creating an ethereal landscape ; then extends into 
deep masses of light and shade, which slowly fade 
until the rich hue that lingers in the horizon is 
the only indication of the splendour that has de- 
clined. The greatness of Da Vinci, M. Angelo, 
and Raffaelle was naturally imitated ; but imita- 
tion, however successful, or occasionally height- 
ened by originality of treatment, was but the 
faint reflection, the fading tint which hovered in 
beauty o'er the waning light. In 1717, the cri- 
tical spirit of the German, ever restless in literary 
research, was directed to Art. Its tendency was 
to antiquity from classic influence ; its philosophy 
was the metaphysical abstraction of the time. 
From that period to 1800, Art became gradually the 
type of religious and national feeling, but the main 
cause of its restoration, and of its mediaeval ten- 
dency is ascribable to the influence of modern lite- 
rature and the zeal and industry of the brothers 
Boisseree. In 1803 they established themselves at 
Cologne, and in 1817 they had formed a collection 
of pictures by German masters extending over 
two hundred years. Thus the Germans became 
aware of a school of Art very distinguished in the 
fifteenth century ; and which, equally with the 
schools of Italy, might be traced to the Byzantine 
period. They felt this to be inherently national , 
and in many of these works they traced a purity of 
thought and feeling not before acknowledged. 
Thus they became an object of study, of enthu- 
siasm, and imitation. The Boisseree collection, 
and that formed by Mr. Solly, were both pur- 
chased ; the first by the King of Bavaria, the other 
for the museum of Berlin. It cannot be denied 
that this tendency towards early Christian Art 
was enthusiastic and unreflective. There is al- 


ways in Germany an inclination to cure by cutting 
off the wrong leg ; or by the adoption of the one 
sole method . To attain perfection in the nine- 
teenth, they adopted the characteristics of the 
thirteenth century. It was as if . to amend our 
lives, we should return from manhood to infancy, 
and recommence life as a child. They forgot the 
purity of a chile! arises from natural circumstances, 
not from the deductions of reason ; and that though 
the early productions of Art, as the first attempts 
of poetry, excel generally in strength and invention, 
the later combine this with elegance and refine- 
ment. But the enthusiasm of the artist might 
have been weakened, and public feeling diverted ; 
for professions are united not so much by any pe- 
culiar tendencies of opinion, as by the general in- 
fluence of the collective interests of their own 
class; and public attention pursues pleasure in 
novelty, or subsides into apathetic indifference. 
But the zeal of the present King of Bavaria com- 
bined the efforts of many, and gave direction and 
unity to the natural impulse of all. From 1814 to 
the present time, the abilities of Cornelius, Hess, 
and Schrnor in painting ; Kleuze, Ziebland, and 
Gartner in architecture; Schwant, Haler, and 
others in sculpture ; with numerous pupils, have 
contributed towards the creation of those buildings, 
which have already made Munich an object of 
interest, by reviving the practice of ancient Art, 
and extending the progress of its modern form, in 
various modes of expression, alike illustrative of 
intellectual greatness, as of national feeling. The 
work which we have cited at the head of this 
article, will be of much interest to those who desire 
to be made acquainted with the present state of 
Art in Germany, and its progress there, during the 
course of the last half century. The first volume 
contains chapters on “ German Archaism," a de- 
scription of the public buildings of Munich, and 
of their style of decoration, with discussions on 
the “ Renovation of Art," the “ Schools of Paint- 
ing," and biographical sketches of Cornelius, 
Hess, Scbnorr, and Kaulbach. The second vo- 
lume comprises a “ History of Greek Art, after 
the collections in the Glyptothek," Ac. ; “ History 
of Christian Art, after the collections in the gal- 
leries of Cologne, Frankfort, Munich," Ac., with 
observations on the principles of German Art, in 
connexion with architecture and painting. Thus, 
in extent and variety of information, this work has 
superior claims to any with which we are ac- 
quainted; that of Count Raezynski being too 
elaborate and expensive for the general reader. 
The chapter on “ Monumental Art” we have read 
with much pleasure ; and in the opinions expressed 
with regard to its power as an historical develop- 
ment of opinion we agree. M. Fortoul's new 
theory of “ Greek Art," and “ Observations on 
the various Schools of Paintiog in Italy,” and 
“ On the Architecture of the Lower Rhine," 
possess much of originality in criticism, and of 
useful detail in description. But we cannot but 
wish that the work was less verbose, and more re- 
flective, and that we were not so often reminded 
of the existence of the genius of France. We are 
well aware of the obligations we owe to that great 
country for her beneficial influence on European 
civilization. 

TO CORRESPONDENTS. 

A lady, the grand-daughter of a famous artist in for- 
mer times, expresses a wish to reside, for a few months, 
in the family of an artist, where she may have the ad- 
vantages of information and instruction concerning the 
Arts. We will forward to her, confidentially, any letter 
that may be sent to us. 

In answer to a kind letter signed G. H. H., we beg to 
say, first, that the British Institution will dose on the 7th 
of this month ; next, that the Exhibitions of the Royal 
Academy, the Sodety of British Artists, and the two 
Societies of Painters in Water Colours, will continue 
open, each and all of them, until about the end of June, 
or the middle of July. The best time for artists to 
visit London with a view to these Exhibitions is, cer- 
tainly, the month of May. 

We state, we can scarcely say with regret, that the 
numbers of onr journal for the months of January. 
February, and April, of the present year, cannot be ob- 
tained. Our edition is exhausted. This will be an 
answer to several persons who have communicated with 
us on the subject. 

Another part of Messrs. Finden's “Gallery” will 
be published, we understand, immediately. 


Digitized by 


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1848 .] 


THE ART-UNION 


113 


C. R. LESLIE’S, R.A., PICTURE OF THE ROYAL CHRISTENING. 

Mr. MOON, of Threadneedle-street, has the honour to announce that 

MR. LESLIE’S SPLENDID PICTURE OF 

THE ROYAL CHRISTENING 

is so near completion that he hopes shortly to be enabled to exhibit it at his Rooms, in the City, to the Nobility and other Patrons of Art. 
This Picture contains the most STRIKING LIKENESSES and interesting PORTRAITS of 
HSR MOST GRACIOUS MAJESTY THE QUEEN, I HIS ROYAL HIGHNESS PRINCE ALBERT, 

HER MAJESTY THE QUEEN DOWAGER, HER ROYAL HIGHNESS THE DUCHESS OF KENT, 

AND OTHER MEMBERS OF THE ROYAL FAMILY; 

TOGETHER WITH 

HIS GRACE THE DUKE OF WELLINGTON, 

And such distinguished Personages as were present at that most august Ceremony. 


Now ready, 

THE SECOND PART OF 

ROBERTS’S HOLY 


LAND: 


JERUSALEM; 

CONTAINING 

THE TOMB OF ZECHARIAH, I POOL OF BETHESDA, 

JERUSALEM, FROM THE SOUTH, TOWER OF DAVID, 

CHURCH OF THE HOLY SEPULCHRE, | SHRINE OF THE liOLY SEPULCHRE. 

The Publisher has sincere pleasure in noticing the continued success attendant on this magnificent Work of Art, and the undying popularity consequent 
upon the grandeur of the subject and the unrivalled beauty of the Lithographic Plates and Letter-press. 


Just published, dedicmted, by permission, to the Right 
Honourable Lord Denman, Lord Chief Justice of the 


Honourable Lord Denman, Lord Chief Justice of the 
Court of Queen's Bench, &c. &c., 

F our views in dovedale. Derby- 
shire, with a Vignette. Drawn from Nature 
by T. F. Lee : Lithographed by G. Baenard. 

Proofs, Folio-Colombier, 15s, the Set : Prints, Folio- 
Imperial, 10s. 6d. 

Sold by Reeves and Sons, 150, Cheapside; and 
Moseley and Nephew, Derby. 

PAUL DE LA ROCHE'S WORKS. 

K ing Charles the first in the 

GUARD ROOM, after sentence of death was 
passed noon him: the fallen, but yet dignified Mo- 
narch, calmly enduring the taunts and insults of the 
brutal soldiery of Cromwell. From the beautiful his- 
toricalpicture in the collection of Lord Francis Eger- 
ton. Engraved in tbe most highly finished style of 
Menotinto by G. San dees. 

Prints, 12s. : Proofs, 21s. ; Before Letters (only 50 
taken). Sis. 6d. 

Also tbe Companion, by the same Artists, and of tbe 
same size and price, 

THE EARL OF STRAFFORD GOING TO EXE- 
CUTION ; from the splendid picture in tbe collection 
of tbe Duke of Sutherland. 

Published by Ackermann and Co., Strand ; and to 
be had of all Book and Printsellers in the United 
Kingdom. 

AST OF ENGLAND ART-UNION.— 
An EXHIBITION of MODERN ART in PAINT- 
ING. DRAWING, and SCULPTURE, will take place 
during the ensuing Assize and Festival weeks at THE 
ARTISTS' ROOM in NORWICH. 

Connected with, and at the close of this Exhibition, 
will be an Art-Union, in which it is anticipated that the 
Drawing of Pictures will be on an extensive scale, the 
Subscription List having already met with the most 
distinguished patronage and is progressing rapidly. 
COMMITTEE. 

Sir John Boileau, Bart. William Matchett, Esq. 
John Marshall, Esq., Mr. Charles Muskett. 

Mayor of Norwich. T. T. Mott, Esq. 

Horatio Bolingbroke, Esq. Alfred Master, Esq. 


John Harwell, Esq. 
Rev. H. Banfisther. 
Rev. E. S. Dixon. 

Mr. J. H. Druery. 
Mr. Robert Leman. 
Mr. Thomas Lonnd. 
Mr. W. Freeman, jun 
Mr. R. Fitch. 

John Gordon, Esq. 
Joseph Geldart, Esq. 


Mr. John Norgate. 
Henry Patteson, Esq. 
Mr. B. Pearson, 

William Stark, Esq. 
John Sulbyer, Esq. 
George Skipper, Esq. 
James Winter, Esq. 

Mr. James Watson. 
Charles John West, Esq. 


This day is published (unavoidably postponed from last 
month, on account of the author's illness), in royal 
4 to., half-bound morocco, gilt labels, price 16s., 

R ICAUTTS SKETCHES FOR RUSTIC 
WORK, including Bridges. Park and Garden 
Bnildings, Seats and Furniture. Forming a Sequel to 
Ricauti's Rustic Architecture." There being 
but a limited edition of this work (originally published 
in parts), and the plates destroyed ; Part No. 1 is out 
of print, but a few parts of 2, 3, 4, 5, and 6 remain on 
sale, price 5s. each. 

London : James Carpenter, Old Bond-street. 

A NEW WORK ON DRAWING, LIGHT AND 
SHADE, AND PAINTING. 

Just published, 

P RACTICAL INSTRUCTION in the USE 

of a BOX of WATER COLOURS. By Habry 
Willson, Author of “ Fugitive Sketches in Rome, 
Venice," &c. &c., in a Treatise on Composition, Light 
and Shade, and Colour. Beautifully illustrated with 
plain and coloured Examples, in the entirely new Art 
of painting on Stone, lor which Charles Smith is 
indebted to M. Hullmandel’s Patent Invention. To 
accompany which, a Box of Tints and Colours is pre- 
pared, to enable the student in Water Colours to paint 
direct from Nature, without tbe difficulty and uncer- 
tainty In mixing them. In imperial octavo, hand- 
somely bound in cloth, price 24s. 

Loudon:— To be had of tbe Proprietor, Charles 
Smith, Artists' Colourman, 34, Msrylebone-street, 
Piccadilly ; Messrs. Tilt and Bogue, Fleet-street ; and 
all other Publishers, Stationers, &c., throughout the 
Kingdom. 

T O MINIATURE PAINTERS, &c. — W. 

WARRINER, 39, GREAT CASTLE-STRRRT, 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 
patronised him ; begs further to inform them that ne 


TREASURER. 

Robert John Harvey, Esq. 

SECRETARY. 

Mr. William Willins. 

The constitution of this Society is similar to that of 
the Art- Union of London, in which every subscription 
prize-holder will be entitled to one or more pictures at 
the drawing. 

Artists and Amateurs, intending to exhibit their 
paintings, drawings, and models, are requested to 
communicate their intention to the Secretary at their 
earliest convenience, who will supply further informa- 
tion. 

Tbe expense of carriage will be paid to and from 
Norwich of all works sent for Exhibition, being tbe 
production of and contributed by artists to whom a 
circular will he particularly addressed. 


order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

TIIE CHEAPEST MANUFACTORY FOR GILT 
AND FANCY WOOD PICTURE FRAMES. 

P GARBANATI, WORKING CARVER 
e and GILDER, 19, ST. MARTI N’S-COURT, 
St. Martin's-lane, respectfully informs Artists, &c., 
that as he manufactures entirely on his premises every 
description of ORNAMENTED GILT and FANCY 
WOOD PICTURE FRAMES, he is enabled to offer 
them at such low prices that he defies competition. A 
most extensive assortment of every size Picture Frames 
kept ready. Re-gilding in all its branches in a most 
superior manner, cheaper than by any other house in 
the trade. Estimates given free of charge. 

A large assortment of handsome ornamented swept 
Gilt Miniature Frames at 6s. each (glass included), not 
to be equalled for price and quality by any other manu- 
facturer in tbe kingdom. 

A list of the prices of Plate Glass, Gilt and Fancy 
Wood Picture Frames, &c., sent, pre-paid, to any part 
of the kingdom. 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
e corner of Mitre-conrt, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, tbe Size and Prices attached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

ARCHITECTURAL CARD MODELLING. 
Patronised by her Most Gracious Majesty and his 
Royal Highness Prince Albert. 

M R. ANDREWS, of GUILDFORD, begs to 
introduce to the notice of the Nobility, Gentry, 
and the Public generally, a novel branch in the Fine 
Arts, viz., ARCHITECTURAL MODELLING in Card- 
board in imitation of ivory. Specimens of this beau- 
tiful Art have been submitted to the inspection of her 
Majesty and his Royal Highness Prince Albert, who 
were graciously pleased to express their satisfaction, 
and to purchase Models of tne Pavilion, Brighton, 
and Saint George's Chapel, Windsor. 

Gentlemen's Residences modelled to order. 

Orders received by his Agents, Messrs. Reeves and 
Sons, 150, Cheapaide, London, where Specimens may 
be seen ; also by the Artist, 61, High-street, Guildford. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M* LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, aud 
sent free of postage to any part or the kingdom. The 
Trade supplied with Frames in the Coropo. Fancy - 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 

P OOLOO’S CHINESE CEMENT. — The 
extraordinary properties of this Composition 
make it one of the most usefril articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at Is. 6d., 2s. 6d., 4s. 6a., and 7s. 6d., 
by the Proprietor's sole agents, B1X)FELD and Co.. 
Cutlers and Razormakers, 6, Middle-row, Holbom ; and 
by their appointment, at the principal Chemists and 
Perfnmers. BLOFELD'S London made Table Knives, 
at BLOFKLD and Co.'s, 6, Middle-row, Holborn. 


Digitized by 


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THE ART-UNION. 


PICTORIAL WAVBRLBT. 

Illustrated with above Two Thousand Engravings on 
Steel and Wood. 

Part I., price Half-a-Crown, of 

T HE ABBOTSFORD EDITION of the 
WAVERLEY NOVELS is now in the hands of all 
the Booksellers. 

TO BE CONTINUED EACH ALTERNATE SATURDAY 
TILL COMPLETED. 

R. Cadell, Edinburgh; Honlston and Stoneman, Lon- 
don. To be bad of every Bookseller in Great Britain, 
Ireland, and the Colonies. 

“ The sale of this edition is likely to be an extensive 
one in all quarters of the world.*'— Times. 

“ This splendid edition of the Waverley Novels is 
rightly named the 'Abbotsford.* The half-crown num- 
ber is cheaper than any of the pictorial publications by 
the steel plate frontispiece.’*— Spectator. 

“ We congratulate the public upon the appearance 
of this the most splendid edition of the Waverley 
Novels that has ever appeared. The Wood-Engravings 
especially are beautiful specimens of our best artists." 
—Atlas. 

" The Illustrations to the Part are twenty-four in 
number; and they exhibit every variety of drawing, 
landscape, architecture, and figure, and all are excel- 
lent."— John Bull. 

“ When this work is completed, it will be by many 
degrees the most satisfactory and elegant edition of 
Sir Walter Scott's Tales that has yet appeared. The 
Part is got up in every respect with remarkable skill 
and attention to details."— Sun. 

" We have never seen a more beautiful work."— 
Bell's Weekly Messenger. 

“ The Edition will be one which every one who 
bondurs the memory of Sir Walter Scott will take care 
to be possessed of."— Cambridge Chronicle. 

“ This Edition will take the place of all others with 
those who can afford to purchase it ; and we must add, 
that, when put in comparison with its merits, the price 
is singularly low.”— Hull Packet. 

" Altogether the work is got up in a style worthy of 
the great author, and there cannot be a doubt that the 
sale will be commensurate with the very great outlay 
incurred in its execution."— Newcastle Journal. 

" The Abbotsford Edition will be one of the most 
magnificent pictorial works ever issued from the press." 
—Gloucester Journal. 

" The First Number gives promise of great excel- 
lence, and we hail the work as a most valuable edition 
of the best novels that were ever written.”— Manches- 
ter Courier. 

" The most beautiful of all the beautiful editions 
through which these immortal works have passed ; it 
is unique."— Dublin Monitor. 

" We hail this splendid edition with pleasure and 
feelings of national pride ; and we anticipate for it a 
full and brilliant measure of success."— Exeter and 
Plymouth Gazette. 

“ We have long anticipated that an edition would one 
day make its appearance with fine illustrations suita- 
ble to the fanciful nature of the work. This is at length 
promised in the Abbotsford Edition." — Liverpool 
Albion. 

“ This will be the ne plus ultra of illustrated prose 
fiction."— Salopian Journal. 

“ From the promise offered by this first Part we can- 
not but hail with pleasure the appearance of the Ab- 
botsford Edition of the Waverley Novels." — Leeds 
Intelligencer. 

“ We have no doubt this curious and interesting 
edition of Sir Walter’s Works will be an acceptable gift 
to the public, and meet with an extensive sale."— 
Edinburgh Courant. 

“ The first Number, now on our table, is a fine spe- 
cimen of what its purchasers may expect to have in 
their libraries when the whole is complete."— World. 

" This splendid undertaking we cordially recommend 
to the liberal patronage of all who would adorn their 
libraries with the most perfect edition of the most at- 
tractive series of books which the nineteenth century 
has produced.”— Nottingham Journal. 

“ The edition, of which the first Part is before ns, is 
so beautifully brought out, that we think the publisher 
may calculate on another 60,000."— Farley’s Bristol 
Journal. 

“ This promises to be a very splendid publication." 
—Dublin Evening Post. 

" Of the Pari before us we must say that it is every 
thing that could be desired." — Liverpool Courier. 

“ The design of this work is so original, and its exe- 
cution so masterly and beautiftil, that its success is 
certain."— Liverpool Chronicle. 

The Proprietors have succeeded in purchasing, at 
the sale of the worts of the late Sir David Wilkte , a 
n 't™? er r £f’P e * i $ n * b 9 * hat eminent painter , illustrative 
of Sir Walter ScotVs Novels , aU of which will be given 
in the progress of this edition . 


C HARLES F. BIELEFELD, MANUFAC- 
TURER of the IMPROVED PAPIER MACHE, 
15,WELLINGTON-ST. NORTH, STRAND, LONDON. 
— Architects, Builders, House Decorators, Upholsterers, 
&c., are respectfully invited to inspect the extensive 
collection of Ornaments at the above Show Rooms, 
in every style and form, the designs of the first Archi- 
tects or the day. The use of this truly valuable mate- 
rial is becoming doily more general as its merits become 
better known and proved. Its extreme hardness, du- 
rability', and strength; the opportunities which it 
affords of giviug to every kind or enrichment a sharp 
under-cutting and forcible relief; its lightness ; the 
rapidity with which it may be prepared, and the faci- 
lity with which it may be fixed up; and, finally, its 
cheapness; are qualities which eminently distinguish 
it above every other artificial composition whatever. 

It has been used at the Palaces, the Houses of Parlia- 
ment, the British Museum, most of the principal club- 
houses, and many of the best public and private build- 
ings throughout the country. Among the obvious uses 
of this substance are ceiling flowers, ventilators, cor- 
bels, consoles, window cornices, frames for pictures, 
glasses, &c. ; also for the enriched members of cornices 
and friezes to rooms, by which a perfectly plain ceiling 
may be rendered highly ornamental in the course of a 
few hours; and generally for all panelling on walls, 
capitals of columns, bosses pendants, tracery, &c. 

A quarto volume is published, containing nearly 1000 
Designs, which are in stock, ready for* sale. A tariff 
of prices accompanies the volume, bound complete, 
for the architect ; is sold at three guineas, or any plate 
or plates may be had separate, at 6d. each ; also a pat- 
tern-book may be had, price 14s., consisting of a great 
variety of picture and glass frames, and window cor- 
nices. 

SHOW ROOMS, NORTH JOHN-STREET, 
LIVERPOOL. 

WINSOR AND NEWTON’S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 
FOR OIL PAINTING. 

W and N.’a Compressible Metallic Tubes 
• are made on an entirely novel plan, of a 
series of layers or rolls of extremely thin metal; they 
are extremely light, yet have great strength and tough- 
ness, so that they are not liable to split and leak, as is 
tbe case with all Tubes made on any other plan. 

By a process peculiarly original, W. and N. line every 
Tube with a thin membranous substance , and thereby 
prevent the very injurious effect occasioned to colours 
which are long kept in direct contact with a metallic 
surface. The most delicate colour is thus effectually 
protected from any chemical action that might other- 
wise cause its deterioration. 

The oil colour is ejected from these Tubes in a man- 
ner similar to that in which colour is expressed from 
the common bladder colour, by squeezing or compress- 
ing between the thumb and finger, so that tbe colour is 
always kept gathered up in a compact state ; the empty 
jjart^of the Tube remaining closed or compressed be- 

The bottom of tbe Compressible Tube it cemented in 
a manner entirely new, which gives a security to the 
Tube not before obtained, and renders it impossible 
for the contents to be forced out through accident or 
imperfect closing. 

W. and N. beg to apprise their Patrons that their 
new manufacture of Compressible Metallic Tubes is 
entirely original and, excepting the tubular form 
(which has been generally adapted in various contri- 
vances for preserving oil colours for the last fifty years), 
their Tubes are not similar in their manufacture to any 
of the numerous other tubes applied to the preservation 
of oil colours now in existence. 

They are light and portable, and may be packed with 
safety among linen or paper. They preserve oil colour 
for any length of time, are peculiarly adapted for ex- 
pensive colours, and offer the most perfect mode of 
sending oil colours to warm climates. 

The advantages of these Tubes maybe thus enumerated. 
The preservation of the colour free from skins. 

The cleanliness with which the art of painting may 
be pursued, either by artist or amateur. 

The readiness with which the colour may he pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and danger of breaking or 
bursting. 

Economy in use, and moderate price. 

TO BB HAD, WHOLESALE AND RETAIL, AT 

WINSOR AND NEWTON’S 
ARTISTS’ COLOUR MANUFACTORY, 

38, RATHBONE PLACE, LONDON. 

Price 6d. each, to be filled with colour (Cobalt, Mad- 
der, Lakes, &c., extra as usual). 


MILLER’S SILICA 
COLOURS. 

The SILICA OIL COLOURS are prepared in col. 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of an order, for any Of 
the under-mentioned tints, vix. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK'S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium, having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing tbe existing evils of tbe Modem School; 
namely, the destructive effects of Varnishes, Oils, and 
M’guelps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glass Medium in Bottles . 

No. 1. For first and second painting. 

No. 2. For rubbing up powder colours with. 

No. 3. For third painting, finishing, and glazing. 

Any of tbe above Media may be thinned, according 
to the taste of the Artist, with Florentine Oil. 

T. Miller respectfully directs the attention of those 
artists and amateurs who have not had an opportunity 
of witnessing the gem-like lustre of the Silica Colours 
and Glass Medinm to a picture painted by F. Stone, 
Esq., ‘The Bashful Lover,' No. 77, in the present 
exhibition of tbe British Institution, Pall MalL 
The SILICA WATER COLOURS are prepared in 
•mall squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colours, at 
present in use ; and can be forwarded per post to any 
part of the country, on receipt of an order for any 
of the under-mentioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

Pale and Deep Grey. White and Black. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and for 
enabling the Artist to repeat liia touches without di* 
turbing tbe colours already laid on, has been long 
•ought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints unin- 
jured ; in durability it will approach nearer to Oil 
Painting than anything hitherto in nse. 

Glass Medium in Bottles . 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

Were any one sceptical as to the superiority of the 
Silica Colours, every doubt might be easily removed 
by a glance at the picture painted by E. Corbould, Esq., 
‘ The Woman taken in Adultery,’ No. 66, in the present 
exhibition of the New Water Colour Society, 53, Pall 
Mall, and lately purchased by H.R.H. Prince Albert, 
for two hundred guineas. 

MILLER'S Artists' Colour Manufactory, 
56, Long Acre, London. 


Digitized by Lr.ooQie 


1842 .] 


THE ART-UNION. 


A RTISTS’ BENEVOLENT FUND.— Under 
the Patronage of the QUEEN. — Batablished 1810 : 
incorporated by Royal Charter, August 2, 1827.— The 
THIRTY-THIRD ANNIVERSARY DlNNERwiU take 
place in FREEMASONS' HALL, on SATURDAY, the 
7th of May, 1842. 

The Right Honourable Lord JOHN RUSSELL, M.P., 
in the Chair. 

STEWARDS. 

The Earl of Surrey. George Lance, Esq. 

Sir W. Herries, KC.H.,CB. E. Landells, Esq. 

Thomas AUom, Esq. W. Leighton Leitch, Esq. 

George H. Adcock, Esq. Thomas Lupton, Esq. 

E. H. Bailey, Esq., R.A. A. J. Mason, Esq. 

F.R.S. John Noble, Esq. 

Jackson Barwise, Esq. Samuel Oxenham, Esq. 

Thos. Bacon, Esq., F.S.A. Robert Sands, Esq. 

J. I. Briscoe, Esq.,F.R.S. W, H. Simmons, Esq. 
Cbas. Manly Browne, Esq. H. Courtney Slous, Esq. 

J. C. Bourne, Esq. George Robert Smith, Esq. 

Thomas Campbell, Esq. C. Stanfield, Esq., R.A. 
George Clint, Esq. George Thrupp, Esq. 

Henry Collin, Esq. Charles Vignoles. Esq. 

George Corpe, Esq. C. E. Wagstaff, Esq. 

James Creswick, Esq. John Wood, Esq. 

J. H. Le Keux, Esq. 

Ticket, 20s., to be had of the Stewards, or at Free- 


W. Leighton Leitch, Esq. 
Thomas Lupton, Esq. 

A. J. Mason, Esq. 

John Noble, Esq. 

Samuel Oxenham, Esq. 


George Robert Smith, Esq. 
C. Stanfield, Esq., R.A. 
George Thrupp, Esq. 
Charles Vignoles, Esq. 

C. E. Wagstaff, Esq. 

John Wood, Esq. 


Ticket, 20s., to be had of the Stewards, or at Free- 
masons' Tavern.— Dinner on Table at Half-past Five 
for Six precisely. John Martin, Secretary. 


W OOLLETT, THE EMINENT 

GRAVER.— TO THE LOVERS OF TH1 


V T GRAVER.— TO THE LOVERS OF THE FINE 
ARTS.— Forward as the British Public has ever been to 
alleviate misfortune and reward merit, it is presumed the 
announcement of the necessities of the only surviving 
daughter of this distinguished artist will strike a chord 
of sympathy, not confined alone to those who, by their 
connection with the Arts, will at once recognise and 
acknowledge the genius that raised his Art from com- 
parative obscurity to a perfection that artists only can 
duly appreciate, but universally in the breasts of all 
who feel identified with the glory of their country, some 
of whose brightest achievements his talent bas assisted 
to immortalise. From the death of Mr. Woollett, in 


“ We are credibly informed that the works of this dis- 
tinguished artist have greatly contributed, pot only to 
improve the Art itself, but that they have been the means 
of raising the reputation of the English engravers 
abroad, so that a balance of 30,080/. annually, in favour 
of this kingdom, hath for many years arisen from the 
exportation of our prints in general— of such importance 
to nis country is a single man of genius in this profes- 
sion. and his death may, therefore, be considered as a 

E ublic loss. It is no exaggeration to affirm that, in 
mdscape at least, Mr. Woollett bath hitherto stood un- 
equalled, though we trust that many, who have caught 
no inconsiderable portion of his elegance and yet great- 
ness of manner, will go on to merit the public favour, 
and to carry the Art still further, upon nis principles, 
towards its utmost degree of perfection."— Hie Ga- 
zetteer and New Daily Advertiser, May 30, 1785. 

The following gentlemen have volunteered their ser- 
vices, in the hope that a sufficient sum may be raised to 
enable them to secure to Miss Woollett, now in the de- 
cline of life (her 69tb year), an annuity for the remainder 
of her days, and will readily and thankfully receive sub- 
scriptions for this purpose :— 

Samuel Cartwright, Esq., F.S.A., Old Burlington-st. 
Wynn Ellis, Esq., M.P., 30, Cadogan-place. 

Messrs. Ellis and Son, 36, Fenchurch-street. 

Richard Gibbs. Esq., White Hart-court, Lombard-st. 
Richard Herve Giraud, Esq., 7, Furnivai’s Inn. 


Pictures and Prints, the Property of the late Matthias 
Wilks, Esq., brought from nis Residence in the 


f. Robert Moffett, Esq., Mincing-lane. 

— John Noble, Esq., F.S.A., 90, Gloucester-place, 


occurrence of that event until the year 1819, with the 
exercise of the strictest economy, the small property he 
had left was their chief support, which then being 
exhausted, the family were advised to make over his 
plates ana prints to Messrs. Hurst and Robinson, the 
publishers, for the consideration of an annuity for two 
lives. Six years after this arrangement the firm failed, 
and the only surviving daughter, Elizabeth Sophia 
Woollett, has been since that period dependent on a 
very small annuity, raised by subscription by the 
friends of the family, together with the assistance of 
her brother, who being no longer in a situation to 
afford it, she is now reluctantly compelled to make 
this appeal to the sympathies of the public. 

As, in the course of nature, few of Mr. Woollett’s 
contemporaries live to attest his merits, the following 
extracts are appended, doing justice to the private 
wortb of the man, as well as to the excellency of his 
genius :— 

“ This eminent English engraver was born at Maid- 
stone, in Kent, in 1735. He was instructed in engraving 
by an obscure artist, named Tinney; but he was in- 
debted for the admirable and original style for which his 
works are distinguished to the resources of his own 
genius. By an intelligent union of the point and the 
barin, he carried landscape engraving to a degree of 
beauty aud perfection which was unknown before him* 
and which, perhaps, still remains unequalled. The fore- 
ground or nis plates are aa admirable for depth and 
vigour as his distances for tenderness and delicacy ; and 
in nis exquisite prints, from the pictures of our inimita- 
ble Wilson, he appears to have impressed on the copper 
the very mind ana feelings of that classic painter. The 
talents of Woollett were not, however, confined to land- 
scapes ; he engraved, with equal success, historical sub- 
jects and portraits. The extent of his abilities, 
and his extraordinary merits, are so universally 
acknowledged, that any further comment on them 
is unnecessary. His character, as an artist and as a 
man, has been drawn up by one of his friends, with 
so much truth and simplicity, that it is here inserted : — 
‘To say that he was the first artist In his profession 
would be giving him his least praise ; for he was a good 
man— naturally modest and amiable in his disposition, 
he never censured the works of others, or omitted point- 
ing out their merit. His patience, under the continual 
torments of a most dreadful disorder, upwards of nine 
months, was truly exemplary : and he died as he had 
lived, at peace with all the world, in which he never had 
an enemy. He left his family inconsolable for his death, 
and the public to lament the loss of a man whose works 
(of which his unassuming temper never boasted) are an 
honour to his country.’ He died the 23rd of May, 1785, 
aged 50."— Bryan’s Dictionary of Painters and En- 
gravers, 4 to., 1816, page 620. 

“ On Saturday last was interred (agreeably to his de- 
sire) in the churchyard of the parisn of St. Pancras, 
Kentish Town, the remains of Mr. William Woollett, 
engraver to his Majesty. He was attended to the ground 
by a considerable number of his pupils and friends, 
whose concern for so worthy and benevolent a man was 
expressed in a manner which deeply affected even the 
vulgar who were present." 


man-square. 

Alexander Randall, Esq., Maidstone. 

W. W. Wren, Esq., 32, Fenchurch-street. 

Richard Westall, Esq., 115, Lower Thames-street. 

THE LATE MR. SINGLETON’S PICTURES. 

M essrs. Christie and manson win 

SELL by AUCTION, at their GREAT ROOM, 
KING-STREET, ST. JA.MES’S-iQU ARE, on THURS- 
DAY, May 5, at One precisely, the beautiful COL- 
LECTION of PICTURES, the works of that elegant 
artist, Henry Singleton, Esq., deceased ; consisting of 
historical, poetical, and fancy subjects, treated with 
the greatest taste, and displaying the fertile genius of 
that distinguished artist.— May be viewed two days 
preceding. 

CAPITAL ENGLISH PICTURES. 

M essrs Christie and manson will 

SELL by AUCTION, at their GREAT ROOM, 
KI NG-STREET, ST. J AM KS’S-SQU ARE, on FRIDAY, 
Mat 6, at One precisely, a COLLECTION of PIC- 
TURES, by the most eminent English Painters, formed 
by a distinguished patron of British Art, comprising 
works of upwards of sixty artipts of the English School. 
Among them will be found specimens of the following 


artists :— 

West, P.R.A. Turner, R.A. 

Sir A. Callcott, R.A. R. Wilson 
A. Chalon,R.A. Uwins, R.A. 

Collins, R.A. Knight, A.R.A 

Cooper, R.A. Webster, A.R. 

W. Daniel!, R.A. Witherington,, 

Eastlnke, R.A. Allen Pidding 

Etty, R.A. Barker Rippingill I 

Fuseli Bonnington Shayer 

Hart, R. A. Mrs. Carpenter Sharpe 

Jones, R.A. Corbould, sen. Stanley 

Lee, R.A. Creswick Starke 

Roberts, R.A. Davis Wyatt. 

Stothard, R.A. Farrier 

Thompson, R.A. Frazer 

May be viewed two days preceding, and Catalogues 
had. 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH. MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express hie great 
obligations— he, bis father, and his predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourinan to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
| words “ BROWN’S PATENT " on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
1 colours. 


Knight, A.R.A. Linnell 

Webster, A.R. A. Linton 

Witherington,A.R.A. Liversiege 


toe following 
Gill 

Holland 

Hurlstone 

Linnell 

Linton 


Country.— By Mr. RAINY, at the Gallery, No. 14, on 
the eaat side of Regent-street (in the division between 
Piccadilly and Pall-mall), early in ^iay, by direction 


of the Executors, 

A Small COLLECTION of PICTURES, and 
amongst them three beautiftil specimens by that 
distinguished artist of the British school, the late 
George Morland ; a fine set of 25 Prints, the Luxemberg 
Gallery, after Rubens, framed and glazed ; some carv- 
ings in ivory, See . — Due notice of the days of view and 
sale will be given. 

Pictures of the Highest Class.— By Mr. RAINY, at the 
Gallery, No. 14, on the east side of Regent-street (in 
the division between Piccadilly and Pall-mall), some 
time in May, 

T HE very valuable and select COLLECTION 
of PICTURES, chiefly of the Italian school, well 
known in Scotland as purchased by the late Mr. Irving 
for the late Sir William Forbes, Bart., from the Tenari 
and Zambeccari palaces at Bologna, from Count Lecchi 
at Breschia, and other noble families at Venice, Flo- 
rence, &c., for whom many of them were painted. They 
are generally in a pure state, and among them are spe- 
cimens of fine quality, by the following great master* 
Gian Bellini Luini Ann. Carracci 

Rembrandt Titian Salvator Rosa 

A. del Sarto Morone Paolo Veronese 

Canaletto Gnido Rent Sasao Ferrato 

F. Francis Lud. Carracci. 


of 8t. Giustini, by Paolo Veronese ; portrait of the Doge 
Grimani, Titian ; View on the Great Canal, Venice, Ca- 
naletto; St. John in the Wilderness (after Rachael), A. 
del Sarto: a splendid Landscape, Albano, &c.— Due 
notice of tne day of view and sale will be given. 

Cabinet Pictures of a superior Class, from the Country 
Mansion of a Gentleman. 

M R. PHILLIPS begs to announce that he 
will SELL by AUCTION, at his GREAT 
ROOMS, NEW BOND-STREET, on TUESDAY, May 
3, at ON E precisely, a VERY PLEASING and VALU- 
ABLE COLLECTION of ANCIENT CABINET PIC- 
TURES, selected by the Proprietor, a gentleman of 
known taste and liberality, at very considerable cost, 
from distinguished collections, which have been dis- 
posed of both at Paris and in England during the few 
past years: amongst these is a * Holy Family,’ by 
Francesco Vanni ; * Daniel in the Den,’ and the * In- 
fant Saviour,’ by Rubens ; a ‘ Dead Christ with Angels,’ 
by Guercino ; an * Old Lady seated in a Chair,’ Metzer ; 
an* Interior,' J. Steen; a * Landscape,’ Ostade; ‘ But- 
tle Piece,’ Borgognone ; a * Subject,’ by Etty, R.A. ; 
* Farm-yard,* Morland; and other equally interesting 
examples, which will be more fully detailed here- 
after, by 

Domenichino Cignani Teniers Coyp 

Parmegiano Wynanta Berchem Watteau 

Marinari Wouvermans Borgognone Maas, see. 

May be publicly viewed two days preceding the sale, 
at Mr. Phillips’s, 73, New Bond-street ; and catalogues 
then had. 

THE ELEGANT LIBRARY OF SIR FRANCIS 
CHANTREY, R.A., DECEASED. 

M ESSRS. CHRISTIE and MANSON re- 
spectfully inform the Public, that on TUESDAY, 
May 10, and following day, they will SELL by AUC- 
TION, at their GREAT ROOM, KING-STREET, 
ST. JAMES’S-SQUARE (by order of the Executors), 
the valuable LIBRARY of WORKS of ART and 
GENERAL LITERATURE, in the most beautiful con- 
dition, of Sir Francis Chantrey, R.A., deceased.-May 
be viewed Saturday and Monday preceding. 

THE VERY CHOICE COLLECTION OF MODERN 
PICTURES OF JOHN TURNER, ESQ. 

B Y Messrs. CHRISTIE and MANSON, 
at their GREAT ROOM, KING-STREET, ST. 
JAMES’S-SQUARE, on FRIDAY, May 13, the small 
and very select COLLECTION of PICTURES, the 
works or the most celebrated Modern British Artists, 
collected by John Turner Esq., and removed 
from his late residence, Clapham Common; com- 
prising the * Rabbit on the Wall,’ the much-ad- 
mired work of Sir David Wilkie, painted for Mr. 
Turner, in 1816; a ‘Nymph and Cupid,’ a beau- 
tiful work of the late W. Hilton ; • The Morning 
Star,’ a highly poetical design, by Howard, R.A. ; a 
most capital and important work of Morland ; Richard 
and Saladin,* and two others, by Cooper, R.A. ; 
three charming subjects of Rustic Figures, by With- 
erington ; and some of the happiest efforts of the 
oUowing talented artists : — 

Ward Burnet Cooke 

Clennell Linnell Good 

Allen E. Cooper J. Wilaon 

Starke Shetky Shayer. 


The Collection may be viewed three days preceding 
the Sale, and Catalogues had. 


Digitized by 


■oogl 



116 


THE ART-UNION. 


[May, 1848. 


PREPARING FOR PUBLICATION, 

THE BOOK OF BRITISH BALLADS. 

EDITED BY S. C HALL, ESQ., F.S.A. 

PLAN OF THE WORK. 

Thh Won will consist of British Ballads taken from the collections of Percy, Evans, Ritson, Pilkinoton, Scott, Motherwell, Jamieson. 
Buchan, Herd, and others, by whom they have been gathered with so much industry and care ; and, also, from sources comparatively unexplored by 
the general reader. No attempt has, hitherto, been made to select, and arrange in a popular form, the best of these ballads from the several volumes in 
which they are scattered, and where they are mixed up with a mass of inferior, or objectionable, compositions. 

The Work will be issued in Monthly Parts, small Quarto ; the Part will consist of five sheets, — forty pages ; and every page will contain an Illustration 
engraved on Wood, in the finest style of which the art is capable. 

The present intention of the Editor is to complete the Work in twelve Parts, so as to form one Volume; but if the public shall call for its enlarge* 
ment, it may be increased to twenty Parts, so as to form two Volumes, beyond which it will under no circumstances be extended. 

Part I., to be published on the first of June, will contain the ballads of — 

CHEVY CHASE; iltuatrated by J. Phanklin ; the engravings by Smith. Lajtdksls, Armstsomo, Bautin, &c. 

THE CHILDREN IN THE WOOD : illustrated byJ. R. Hbrbbkt, A.R.A. ; engraved by Grbbn. 

FAIR ROSAMOND ; illustrated by J. Franklin ; engraved by T. Williams, Miss Williams, Walmilby, &c. 

THE DEMON LOVER; illustrated by J. Oilbkbt; engraved by Folkard. 

THE NUT-BROWNE MAYD; illustrated by T. Creswick ; engraved by J. Williams. 

Each ballad will be preceded by two pages ; giving its history, and supplying such information concerning it as the Editor may be enabled to obtain. 
Into these pages will be introduced, generally, the airs to which the ballads were sung ; and any pictorial illustrations that may serve to explain the text 
Each ballad will be illustrated by one artist, and in every instance the design will be drawn by him on the wood, — so as to secure uniformity of 
character ; and such arrangements have been made, that as the Work progresses, it will exhibit examples of the genius of a large proportion of the most 
accomplished artists of Great Britain. 

The supremacy of our English Engravers on wood is universally admitted : this important department of the Work will be entrusted only to artists of 
acknowledged skill and eminence ; and the whole of the illustrations of a ballad will be confided, as far as possible, to one engraver. 

The aim of all parties engaged in the production of the Work will be to render it worthy of the Country and the Arts. 

It is unnecessary to add, that the Publishers calculate upon a very extensive sale to return the immense outlay of capital that will be required : they 
feel assured that public patronage may be looked for to an extent corresponding with the value of the Work. 

LONDON : HOW AND PARSONS, 132, FLEET STREET. 


By whom are also just published. 


THE ILLUSTRATED ITINERARY OF 
CORNWALL. 

With Five Landscapes, by Creswick, engraved on Steel, a Map of the 
County, and 110 Wood-cuts. Imperial 8vo., price 16*. in half-morocco. 

Being the First Volume of 

ENGLAND IN THE NINETEENTH CENTURY s 
Combining Views and Descriptions of all that is picturesque in Nature, 
with all that is wondrous in Art ; and exhibiting England as it is, under 
its several aspects of Natural Scenery, Historic Memorials, and Productive 

Industry. 

EDITED BY MR. C. REDDING; 

With the assistance of Dr. W. C. Taylor, and other contributors. In 
MonthljTParts, imperial 8vo., 2s. Gd. each. 

LANCASHIRE (now publishing) will be completed in August. 

MRS. HALL’S 

SKETCHES OF IRISH CHARACTER. 

New Edition, with Additions, in imperial 8vo., containing Five Engravings 
on Steel, after Drawings by Maclise, and Fifty-nine Wood-cuts by cele- 
brated Artists. 25s. half-morocco. 

Just ready. 

THE PALFREY: A POEM. 

BY LEIGH HUNT. 

(Dedicated to Her Majesty.) 

With Illustrations by Creswick, Meadows, Franklin, &c., Engraved 
on Wood. 8vo., price 5s. 

HOFLAND’s BRITISH ANGLER’S MANUAL; 

Containing Notices of the principal Rivers, Lakes, and Trout Streams ; 

with Instructions in Fly-fishing, Trolling, and Angling at the Bottom. 
Post 8 vo., very highly embellished, 21s. in cloth ; large paper, with India 
proofs, 36s. 

CAKES and ALE : TALES and LEGENDS. 

' BY DOUGLAS JBRROLD, E8Q. 

With Etchings by Gborob Cruikshank. 2 vols. fcp. 8vo., 16e. in cloth. 


ILLUSTRATIONS OF SHAKSPEARE, 

LANDSCAPE AND ARCHITECTURAL: 

In a Series of Forty-five Line Engravings on Steel, by Varrall, Cartbr, 
Hinchliffe, Starling, Tingle, Godfrey, Benjamin, See . 

FROM ORIGINAL DRAWINGS BY G. F. SARGENT. 

With Illustrations, Geographical, Historical, and Descriptive. Imperial 
8vo., price 30s. 

IRELAND : ITS SCENERY & CHARACTER. 

BY MR. AND MRS. S. C. HALL. 

Imperial 8vo., with fine Engravings on Steel, from Paintings by Cbbs- 
wick, a profusion of superior Wood-cuts (from Drawings made expressly 
for the work), and Maps of the Counties. In Monthly Parts, at 2s. 6d. 
Vols. 1 and 2, hi cloth, 25s. each ; Vol. 3 will complete the work. 

JEM BLUNT. BY THE OLD SAILOR. 

Containing 23 Steel Plates, by Robert Cruikshank, Huggins, and 
Lee, with 15 Wood-cuts. 8vo., 14s. in cloth. 

THE EPICURE’S ALMANACK FOR 1842. 

BY BENSON HILL, ESQ. 

With illustrated Side Dishes. 2s. 6d. in doth. 

THE EPICURE’S ALMANAC FOR 1841. 2s. Gd. 

THE NATURAL HISTORY OF SOCIETY, 

In the Barbarous and Civilized State . 

BY WILLIAM COOKE TAYLOR, L.L.D. 

2 vols. post 8vo., 21s. in cloth. 

Nearly ready . 

BELGIUM, 

SINCE THE REVOLUTION OF 1830, 

Considered in its Topographical, Civil and Military, Commercial and 
Agricultural, Religious, Literary, Moral and Social Relations. 

BY W. TROLLOPE, M.A. 

1 vol. 8vo., price 10s. Cd. in doth. 


I*»don:— Printed at the office of Palmbr and Clayton, 10, Crane Court, Fleet Street, and Published by Hp^yand Parsons, !•*, Fleet Street,— May 1, 184*. 



THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 




EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 41. 


LONDON: JUNE 1, 1842. 


Price Is. 


THIS JOURNAL BEING STAMPED , CIRCULATES , POSTAGE FREE TO ALL PARTS OF THE UNITED KINGDOM. 


T he eighth annual exhibition 

of the NEW SOCIETY of PAINTERS in WATER 
COLOURS is NOW OPEN, at their Gallery, Fifty-three, 
Pall-mall. Admission, is. ; Catalogue, 6<1. 

Jam ks Fahky, Sec. 

REAT GALLERY-PAINTING of KING 
HENRY the FIFTH at the BATTLE of AZIN- 
COURT, Designed and Painted by Henry Mrllino, 
is on view at the LARGE ROOM of the SOCIETY of 
ARTS, JOHN-STREET, ADRLPHI. 

Painters, Sculptors, Architects, and Engravers, the 
Literati, and all who take an interest in the Art, will be 
admitted, free, by leaving their names and address at 
the door. 

ERSPECTIVE and DRAWING MODELS 
for TEACHING ELEMENTARY PRACTICAL 
PERSPECTIVE DRAWING, LIGHT and SHADE, 
&c. Acknowledged, generally, as the best possible in- 
troduction to Landscape Drawing upon certain princi- 
ples. Being composed of Geometrical and separate 
Pieces, are capable of many hundred variations. Illus- 
trated and complete in box, price ±\ Is. 

C. SMITH’S ARTISTS’ REPOSITORY, 34, MARY- 
LK BONK-STREET, QUADRANT. 

E ast of England art. union.— 

The EXHIBITION of MODERN ART in 
PAINTING and DRAWING connected with this In- 
stitution, will be opened in the latter part of July, at 
the Artists’-room, Exchange-street, Norwich. 

Mr. Green, of Charles-street, Middlesex Hospital, 
has been appointed Agent to the Society for packing, 
and all works of Art should be forwarded to him by the 
11th of July. 

No carriage or expenses will be paid by the Institu- 
tion, except on works sent from those Artists to whom 
the Exhibition Circular has previously been forwarded. 
By order of the Committee. 

St. Andrew’s, ' W. Williams, 

Norwich, May 24th, 1842. Hon. Sec. 

nPHE ART-UNIONS OF GERMANY!— 
X In order to facilitate and render more convenient 
to parties no® -resident in London, who may wish to be- 
come Subscribers to these Institutions (for frill parti- 
culars of which see Advertisement in last page), Mr. 
HERING, the appointed Agent for this Kingdom, is 
willing to receive from Gentlemen resident in the fol- 
lowing Cities and Towns, Proposals for the Office of 
Honorary Local Secretary, in the selection of which 
Officer a preference will be given to any one more im- 
mediately in connexion with Art or Literature in the 
town in which he is resident. The application to be 
accompanied by a reference in London. 


Edinburgh, 

Glasgow, 

Dublin, 

Cork, 

Oxford, 

Cambridge, 

Norwich, 

Exeter, 

Liverpool, 


Manchester, 

Birmingham, 

York, 

Canterbury, 

Salisbury, 

Southampton, 

Portsmouth, 

Leeds, 

Sheffield, 


Hull, 

Newcastle-on- 

Tyne, 

Bath, 

Bristol, 

Cheltenham, 

Dover, 

Plymouth, and 
Devonport. 


German Repository of Art, 

9, Newman-street, Loudon, 

1st June, 1842. 

F INE ARTS. — Shortly will be published, a 
beautiful Drawing in Lithography, by a well- 
known Artist, representing the interesting ceremony of 
allotting the Prizes of the ART- UN ION of LONDON, at 
the THEATRE ROYAL, DRURY-LANE, on TUES- 
DAY, the 26th of April. 


TITTEST OF ENGLAND ART- UN I ON. — 
W The WEST OF ENGLAND ART-UNION is 
established to promote the interests of Art in the 
Western Counties. 

The following is an outline of the plan upon which it j 
is proposed that the Society shall be conducted. It ! 
will be found to embrace many improvements, which 
the experience of other Art-Unions has suggested as 
desirable. 

A Subscription of Half-a-Guinea to constitute Mem- 
bership. 

A part of the fund raised to be expended in the pro- 
duction of an Engraving, to one copy of which every 
Subscriber shall be entitled for each half-guinea sub- 
scribed. 

The surplus fund, after paying the necessary ex- 
penses of the Society, *hall be divided into Prizes of 
various amounts, which will be distributed by lot 
among the Subscribers ; so that each Subscriber, be- 
sides receiving a Print fully equal in value to the 
amount of bis subscription, will also have a chance of 
obtaining a valuable Work of Art as a prize. 

The winners of prizes will be allowed to select one or 
more Works of Art, to the amount of their prize, from 
either of the Exhibitions in Plymouth or Exeter, or 
from the Polytechnic Exhibition at Falmouth ; or they 
will be allowed to have Portraits of any members of 
their families, painted by an artist chosen by them- 
selves. 

It is believed that this latter regulation will be found 
very acceptable to many prizeholders, and will afford 
encouragement to a class of artists who have hitherto 
been very much excluded from the benefits of Art- 
Unions. 

The drawing for 1842 will take place at a Public Meet- 
ing, to be held in Plymouth, the last week in August. 

To obviate the objection so frequently expressed by 
Subscribers to Art- Unions, of having to wait many 
months after the distribution of prizes, before the Print 
is delivered, arrangements have been made with Mr. 
Ryall, the eminent engraver, to complete an engraving 
in his best style, from a very beautiful picture by Mr. 
A. Penley, entitled ‘ The Spring of the Valley ;’ the 
Prints to be ready for distribution to the Subscribers 
within one month of the time that the prizes aredrawn. 
It is believed that this Print will be one of the most 
attractive that has ever yet been issued by any Art- 
Union. The impressions are to be delivered strictly 
in the order of subscription. 

Subscribers’ names received at the Devon and Corn- 
wall Banking Company, Plymouth and Exeter, or at 
any of its Branch-offices; by Mr. E. Fry, Honorary 
Secretary, Plymouth; Mr. W. Roberts, Honorary Se- 
cretary, High-street, Exeter; by Messrs. Ackermann 
and Co., 96, Strand ; Messrs. Graves and Co., Pall-mall ; 
Messrs. Winsor and Newton, Rath bone-place; and Mr. 
E. Ramsden, 12, Finch-lane, London. 

Now ready, with additional Illustrations, 

THE NEW EDITION OF 

L OCKHART'S ANCIENT SPANISH 
BALLADS; embellished in a new and perfectly 
original manner, with Coloured Titles, Borders, Orna- 
mental Letters, and Vignettes. Quarto, j62 2s., or 
richly bound in morocco, J&2 12s. 6d. 

This volume must be seen to be appreciated : it is 
perfectly unique in its original and beautiful Illustra- 
tion?. 

“ A more appropriately as well as beautifully embel- 
lished volume never was offered to the world. The text 
throughout is accompanied with heraldic and orna- 
mental embellishments, with views of localities and 
representations of subjects, which present an admir- 
able commentary on the stirring stanzas.” — Edinburgh 
Review. John Murray, Albemarle-strect. 


S IR DAVID WILKIE’S EASEL.— 

J. BARNARD has the above useful relic to dis- 

g ose of (size 10 feet bv 5 feet .6 inches), at his ARTISTS* 
OLOUR WA REHOUSE, 339, OXFO RD-STR E ET. 

DAVID ROBERTS’sTR-A., HOLY LAND, 

With Notes, Historical and Descriptive, by the Rev. 
G. Croly, LL.D. 

P ART III., just ready. Price 21s.; Let- 

tered, 42 s. 

London : F. G. Moon, 20, Threadneedle-street 

Now ready, Second Edition, with Plates, post 8vo., 
98. 6d., 

A TOUR in NORMANDY, with some 
REMARKS on NORMAN ARCHITECTURE. 
By Henry Gally Knight, Esq., M.P. 

John Murray, Albemarle-street. 

FIELD ON COLOURS. 

In a large 8vo. vol., price 14s. cloth, 

C HROMATOGRAPHY; or, a Treatise on 
Colours and Pigments, and of their Powers in 
Painting. By George Field. New edition, revised 
and improved.— Also, by the same Author, 
CHROMATICS; or, an Essay on the Analogy and 
Harmony of Colours. Coloured diagrams. Royal 4to. 
21s. cloth. 

Tilt and Bogue, Fleet-street. 

Just published, in 4to., price 2s., in French boards, 
and on royal paper; with proof impression* of the 
Plates, price 4s. f half morocco, gilt tops, 

D ISCOURSES delivered to the STUDENTS 
of the ROYAL ACADEMY, by Sir Joshua. 
Reynolds. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnet, F.R.S., Author of 
“ Hints on Painting,” in 4to., price dil 10s. 

James C arpenter, Old Bond-street. 

ICTURESQUE VIEWS of the RIVERS 
NIGER and QUORRA, by Captain Allen, 
of II. M. S. V. Wilberforce. Dedicated, by gracious 
permission, to his Royal Highness Prince Albert. 
These Views (twenty-two in number), comprising all 
the principal points on the Rivers, with a Map and de- 
scriptive Letter-press, may be had of Messrs. H. 
Graves and Co., publishers, Pall-mall; and Mr. Wil- 
liam Stokes (Captain Allen’s agent for the sale of the 
Views), No. 15, Parliament-street. Price 25s., stitched 
in a wrapper ; 30s. in cloth, 

Lately published, 

T HE THEORY and PRACTICE of WATER- 
COLOUR PAINTING, elucidated in a Series of 
Letters, by the late George Barret, Member of the 
Society of Painters in Water-colours. 

“ The instructions that are conveyed in these letter* 
are so simple, and the language so familiar, that almost 
any young person who is desirous of information will, 
I trust, readily comprehend them.”— The Author. 
Royal 8vo., price 10s. 6d. 

London ; published by Ackermann and Co. 

Just published, imperial 8vo., handsomely bound, 24s., 

T HE USE of a BOX of COLOURS. By 
Harry Willson, author of “ Fugitive Sketch** 
in Rome, Venice,” &c. &c. Being Practical Instruc- 
tion on Composition, Light and Shade, and Painting. 
Illustrated with beautiful Patent Lithotint examples, 
plain and coloured. Also a Box of general Landscape 
Tints have been prepared to accompany the same. 

London : C. Smith, 34, Marvlebone Quadrant ; Tilt 
and Bogue, Fleet-street ; and all other Publishers, Sta- 
I tioners, &c. 


Digitized by Ur.ooQie 


118 


THE ART-UNION. 


[June, 


CHRISTOPHORO WREN, 

D.D.D. 

CAROLUS ROBERTUS COCKERELL, 

DUM PILSCLARE OPIFEX TUA QUA& MANUS UNA CREAVIT COMPONO EN FACTA EST ALTERA ROMA TIBI. 

ALEXANDER HILL, 

Publisher to the Royal Scottish Academy, 67, Princes Street, Edinburgh, 

Announces, that he will have ready for delivery to Subscribers, early in June, the First Class proofs on India paper, of 
Mr. Richardson’s splendid Line Engraving, from the celebrated drawing, entitled 

“A TRIBUTE TO THE MEMORY OF SIR CHRISTOPHER WREN,” 

“ Lector si monumentum requiris, circumspice ! ” 

BY C. R. COCKERELL, ESQ. R.A. 

PROFESSOR OF ARCHITECTURE IN THE ROYAL ACADEMY OF LONDON ; 

ARCHITECT TO THE BANK OF ENGLAND, ETC. 

SIZE OF THE PLATE, TWENTY-TWO BY SIXTEEN AND A HALF INCHES HIGH. 

This magnificent work embraces, in one gorgeous and picturesque composition, exquisite and correct representations of upward* 
of Sixty Public Structures, the work of that greatest of British Architects, whose memory and genius it is designed to hallow and j 
commemorate; and has been admitted to form one of the most elegant Tributes ever paid by living to departed genius. With a view 
of obtaining the utmost Architectural accuracy, combined with, pictorial value, the plate during its progress has undergone the careful 
revision of Me. Cockerell, and several of the most distinguished of the Royal Academicians, to whom through him it has been sub- 
mitted. Besides its certain popularity in England, the Engraving has been considered, by some of the best judges, as likely to command 
a large Continental sale, being better calculated to convey the merit of English Architecture than any other single Plate : and that, from 
its possessing so much scientific and pictorial interest, it will be essential to Architects, to Academies, Academicians and their Schools, 
and to all Amateurs and Collectors of Architectural and modem Prints. 

The Engraving being on copper, the number of Proofs are necessarily limited. It is respectfully intimated, that on and after the 
20th of J une, when they are expected to be ready for delivery, the 

FIRST CLASS PROOFS ON INDIA PAPER WILL BE ADVANCED IN PRICE TO £4 14#. 6d. 

PRESENT PRICES ; > 

First Class India Proofs, £3 3s. Plain Proofs, £2 12*. 6di Prints, £1 11s. 6d. 

A very few copies of the highly finished Etching remain, price £1 1 Is. 6d. 

SUBSCRIBERS 

WiU receive their impressions in the order of the Publisher’s Subscription List. From the high finish and delicate nature of the j 
Engraving, an early application will be decidedly advantageous, and may be necessity to secure a good impression, the limited number 
of Proofs being already nearly all disposed of. 

e 


Digitized by 


Googl 


1842 .] 


THE ART-UNION. 



LONDON, JUNE 1, 1842. 


CONTENTS. 


. THE ROYAL ACADEMY 

. ILLUSTRATIONS OF THE ABBOTSFORD 
EDITION OFTIIE WAVERLBY NOVELS: 
WAVBRLEY AND OUY MANNEEINO . . . 
. THE BOOK OF BRITISH BALLADS : 

FAIR ROSAMOND ; BLIND BEGGAR OF 

BETHNAL GREEN 

. AN ARTIST’S TOUR 

. THE FRESCOES OF CORNELIUS 

. THE ARTS IN CONTINENTAL STATES : 
ITALY; FRANCE. 

. ROYAL COMMISSION OF FINE ARTS 

. VARIETIES: 

THE DINNER AT THE ROYAL 
ACADEMY; HER MAJESTY’S BAL 
MASQUE; THE ARTISTS’ BENEVOLENT 
FUND; THE “REPORT” OF THE ROYAL 
COMMISSION; METROPOLITAN IM- 
PROVEMENT SOCIETY; BRITISH IN- 
STITUTION PRIZES : WILKIE’S 

SKETCHES; ARTISTS* GENERAL BE- 
NEVOLENT INSTITUTION; ARTISTS’ 
RENDEZVOUS; ROYAL HIBERNIAN 
ACADEMY; THE LATE GEORGE BAR- 
RET J SALES OF THE MONTH 

. THE ART-UNION OF LONDON 

. CORRESPONDENCE: 

THE QUESTION OF FRESCOES 

, THE ART-UNION OF GERMANY 

. REVIEW OF PUBLISHED WORKS 


THE ROYAL ACADEMY. 

Seventy-Fourth Exhibition.— 1842. 

The Exhibition was opened to the public on 
Monday, the 2nd of May. We were among the 
spectators who went to— look at the people ; as to 
seeing the pictures, that was out of the question, 
if we except those that were “out of sight for 
upon the first day, the works that occupy, in one 
sense, the highest places, enjoy advantages of which 
those “on the line” are deprived. Unfortunately 
for the Academy and the exhibitors, the old and 
unwise system is persevered in, and the critic is 
systematically deprived of the power to give to the 

5 ublic a just and fair estimate of the collection. 

'o us, this is of small consequence ; for we can, after- 
wards, enter the rooms, as soon as they are opened, 
again and again, before we are called on to offer 
any remarks upon them. But to those who are 
compelled to write on the Monday night, for the 
journals of the next day, such observations as 
result from an inspection made in the midst of a 
crowd, subjected to every possible inconvenience 
and annoyance, the evil is great ; the results un- 
questionably are, often, irritability of temper which 
prevents the possibility of writing generously ; and, 
always, a want of power to discharge the duty 
with either accuracy or ability. Yet these things 
will be done whether they are, or are not, desira- 
ble to the Academy ; and will, as certainly, inevi- 
tably and invariably, be done badly, while the pre- 
sent unwise, illiberal, and unjust system is so per- 
tinaciously adhered to. We may judge of the 
feelings of others by our own ; and have no hesita- 
tion in saying, that if we had been called upon to 
write a detailed criticism, on the afternoon of the 
Monday, we should have been ashamed to have 
read it “in print” on the Tuesday morning. We 
trace, indeed, to this absurd principle of exclusion, 
which belongs solely to the Royal Academy, 
much, if not the whole, of the asperity and bitter- 
ness in which writers so continually indulge when 
treating of that body ; so long as it is continued, so 
long will its members be annoyed upon every oc- 


THE ART-UNION. 


casion where annoyance may be given with the 
semblance of justice. Under what pretence the 
plan is kept up, we cannot say ; but sure we are 
that the courtesy of sending admissions to a dozen 
of the leading journals, might be accorded without 
being considered derogatory ; and there can be no 
rational doubt that by so doing the members would 
best consider, not alone their own interests, but 
the interests of the great body of British Artists of 
whom they are, in a degree, the appointed 
guardians. If the Council had been situated as 
we were on the 2nd of May, and heard the com- 
plainings of gentlemen who “ attended for the 
public press”— and who were compelled to be in 
the gallery, in discharge of their duty— they would, 
we humbly think, rescind a rule which, lo say the 
least, is unwise, and not very creditable to this, the 
second quarter of the nineteenth century.* 

Of the seventy-fourth exhibition of the Royal 
Academy, there can be — and there is — but one opi- 
nion. It supplies evidence of great and general 
improvement. There are few pictures of all -en- 
grossing merit ; few at which crowds will rush, and 
beside which they will stay until their limbs 
grow wearied ; but as a whole, it is highly satisfac- 
tory, and affords cause of sincere congratulation to 
the artists and the nation. It consists of 1409 
works; yet, we understand, no fewer than 900 
works were rejected for want of room. This 
is an evil not so deplorable as it is disgraceful. It 
is reallv not to be tolerated, that in a country like 
this, where “ means and appliances” are ample, 
there should exist, from year to year, a necessity 
for excluding from competition, perhaps from dis- 
tinction, and certainly from profitable occupa- 
tion, the many who must be included among those 
whose pictures are returned to the saloons, the 
painting-rooms, or the attics, in which they have 
teen produced. The evil is so much the greater, 
because it is capable of a simple and easy remedy. 
The portion of the long building built by the nation 
for national objects, surelv could not be better oc- 
cupied during two months of the year, than in 
supplying space upon which the works of British 
artists might be hung— and well hung , 

The paintings of the old masters might be laid 
aside for a brief while— or rather covered up by a 

* It is neither our duty nor our inclination to can- 
vass the opinions expressed by the newspapers; but 
we feel justified in asserting that some of them will be 
read with contempt, some with anger, and ►ome with 
unmingled disgust, by the artists. Not a few of them 
are — to our certain knowledge— written by persons who 
are painters by profession; but who, having utterly 
failed to attain to anything like ability, are conse- 
quently the rejected or Exhibition-rooms, and the de- 
spised of the public generally, and who vent their spite 
and spleen upon successful men, labouring continually 
to bring down merit to their own miserable level. Our 
regret is that the directors of public journals should 
lend their columns to men who can judge no better 
than they can paint; and supply ample evidence that 
they are influenced by envy, hatred, and malice. One 
of them, now before us, in language absolutely revolt- 
ing, describes the glorious work of Maclise as un- 
worthy of a pot-house ; and the estimable President of 
the Royal Academy in terms such as we will not insult 
our readers by quoting ; while the writer, as if to leave 
no doubt of his ignorance, in one small paragraph, 
mis-spells the names of no fewer than four of our 
leading artists. This, to be 9ure, appears in a journal 
pre-eminent for all that is infamous ; but its cir- 
culation is great: and it supplies to a bad painter a 
weapon— powerful and dangerous, because it is one 
against which any honourable man would scorn to 
present a shield. 

Very different in character are two leading news- 
papers now upon our table, which we regret to perceive 
treating the Academy most inconsiderately, and there- 
fore most unjustly ; both repeating the old and liack- 
nied, but refuted, assertion, that the Koval Academy 
is a “ national” Institution, and that ihere’ore the 
people have a right to a voice in its management. 
Neither our time nor our space will permit us again to 
canvass thiR matter; we nave already done so fully. 
Up to the present hour, the Academy is no more a 
national Institution than the Royal Society, or the So- 
ciety of Antiquaries; both these societies are provided, 
free, by Government with apartments in Somerset 
House; and from Government the Royal Academy re- 
ceives nothing more. Surely it would be equally reason- 
able and equally just to call upon these Societies to sub- 
mit their proceedings to the public voice, as to demand 
that the Royal Academy should do so. 

We are by no means prepared to say that a system of 
encouraging and protecting British Art might not be 
devised that should be strictly “national;” or that 
such n system might not be greatly j/ieferuble to that 
which now exists ; but until such a ch; nge has been 
effected, it is most unjustifiable toaigue against the 
Royal Academy upon grounds utterly untenable. 


temporary wall — as they do at the Louvre, where 
“ they order these things better.” Every merito- 
rious picture might then be exhibited— and exhi- 
bited, not to the injury but the advantage of the 
artist. 

It would give us exceeding pleasure to learn 
that the Royal Academy had been stirring in this 
matter. The duty is entirely theirs ; it would be 
impossible for more than a suggestion on the sub- 
ject to proceed from any other source. To them 
such an improvement would produce results most 
beneficial; for they would rid themselves, in a 
great degree, of that painful responsibility which 
attaches to the duty of hanging the pictures ; a 
duty which an archangel could not discharge to 
the satisfaction of all parties ; but which might be 
made infinitely less difficult by such an arrange- 
ment as we take the liberty to suggest. We feel 
quite certain that, if a proper representation were 
made by the Royal Academy to the trustees of 
the National Gallery, the plan would be at once 
acceded to. 

As usual , there is, this year, the customary 
quantum of complaint regarding unfairness or 
ignorance in placing the pictures of unprivileged 
contributors. It is a troublesome and embar- 
rassing topic to touch upon. Persons who think 
themselves aggrieved will make no allowance for 
the difficulties under which the “ hangers” la- 
bour ; and pay no consideration whatever to the 
fact that there may be two very opposite opinions 
as to the merit and value of a work — upon which 
there is a very sincere desire to judge rightly. We 
certainly think that in the present exhibition 
there have been some “ mistakes;” but we are 
far from willing to attribute them to a bad mo- 
tive. We know who the “ hangers” are, and 
consider it impossible to sustain a charge so un- 
worthy and discreditable as that of premidated in- 
justice. Yet among these “ mistakes” there are 
some — we shall find it our duty to refer to them — 
that the ordinary observer will find it difficult to 
account for upon other grounds. 

BAST ROOM. 

No. 1. 4 Portraits of Misses Wynn, children 
of Lord and Lady Newborough/ T. M. Joy. 
Placed over the entrance, and yet seen to advan- 
tage. The work is pleasing in composition, and 
painted with sound judgment; happily blending 
the actual with the fanciful. 

No. 5. * Portrait of Mrs. Burr/ B. R. Faulk- 
ner. A work that ranks high above the ordinary 
standard of its class. The figure of the lady is 
graceful, and the expression of her countenance 
full of gentleness. The work contains a bold at- 
tempt to paint a “ shot” silk, and if the artist has 
failed, he has done so only with greater men— one 
of whom was Paul Veronese. 

No. 6. 4 A Magdalen.’ W. Etty, R.A. No 
matter what subject this artist may select for the 
exercise of his pencil, there is always in the exe- 
cution much that is valuable — much that a school 
might safely follow, but at the same time much 
that prudence would counsel to eschew. The Mag- 
dalen stands with dishevelled hair, looking up- 
wards in fervent ejaculatibn. The expression of 
the countenance is earnest — not dramatically 
intense ; indeed the work is without any alloy of 
affectation. It would have been better had it been 
more conventional, since the learning of the artist 
must have added a value of his own to such a 
quality. The colouring of the picture is in the 
lights, a truth incontrovertible, while the shadows 
are heavy and turbid. There is no life in solid 
asphaltum or umber, as it is here used ; and 
we appeal to this test — if the lights of the flesh 
were covered — the shadows alone would ex- 
tinguish all idea of the relationship of the sub- 
stance with anything so life-like as the lights of 
the picture. 

No. 8. 4 The Schoolmaster/ C. W. Cope. A 
subject from the well-known description in Gold- 
smith’s “ Deserted Village.” The schoolmaster 
seems to have surprised some little . truants, in 
whose faces the artist has skilfully depicted an ap- 
prehension of direful consequences : ne is “ severe 
and stern to view,” but has withal playing in the 
corners of his mouth a light, which partially dispels 
the cloud on his brow. The picture is a happy 
conception of character, true to the poet and to 
J nature ; the execution exhibits the master hand. 

I No. 9. 4 Interior of the Church of San Miguel, 
I Xercy, Spain/ D. Roberts, R. A. A most ex- 


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quisitely-finished work; one of the happiest efforts 
of an artist who, in picturing these glorious re- 
mains of old time, peopled by a degenerate race, 
remains without a competitor. 

No. 10. 4 An English Landscape— Composition,* 
Sir A. W. Callcott. We have of late seen but 
little of the works of the accomplished author of 
this picture; we hail his reappearance on these 
walls with such evidence as he Drinks us, that the 
principle of life is yet strong within him. The 
elements of the composition are common-place, 
and to which none but a master spirit can attach even 
a limited measure of interest ; here they are brought 
forward with a profound veneration for the sub- 
lime and beautiiul, which, thus expressed, cannot 
fail to be participated by all who may look upon 
the picture. It is an upright landscape, rather 
large, made out simply of a foreground covered by 
shallow water, in which areafew cows luxuriating, 
a few trees, and a distance. On the right, the eye 
is confined by th t stately trees, whence it ranges 
over a gently undulating country into an airy pro- 
spective, which is finally mantled in the sky of the 
horizon. The season is summer, the day is sultry, 
and the painter has charged the air with a slight 
haze, which gives to his composition an effect 
rarely equalled. The water is cool and inimitably 
limpid ; but the triumph of the picture is its atmo- 
sphere-air has never before been better painted. 
The shadow under the trees is pure and deep ; a cow 
has sought refuge there, but she is pursued by 
the flies, if there be any meaning in the move- 
ment of her ears. If the end of painting be to 
move us to unison with the intended spirit of a 
representation, none will ever more eminently suc- 
ceed than this 4 English Landscape.* 

No.il. ‘The first Introduction of Christianity into 
Britain,* J. R. Herbert, A.R.A. This is a work, 
in all respects, of the highest class ; the production 
of an artist of unquestionable genius, and one of 
the most “ prospering” professors of the “ grand 
Art.*' In parts it is evidently insufficiently 
finished, and in other parts it is wrought most 
elaborately ; this inconsistency is an evil. But it 
is a happy conception of a striking and interest- 
ing incident; strictly historical, yet with ample 
scope for the exercise of imagination ; and the artist 
has given to his fancy full play. An early Chris- 
tian teacher (somewhat too close a resemblance to 
the modern monk) is converting a group of ancient 
Britons, under the shadow of those huge Druidic 
monuments which still exist at Stonehenge. The 
group is beautifully pictured : a young mother pre- 
sents her babe ; a sturdy youth is breaking one of 
his idols ; an old man listens thoughtfully ; while at 
the side of the missionary stands a graceful youth 
bearing a cross. The picture affords evidence of 
thought and study ; the painter has obviously en- 
tered upon his task under the conviction that it 
was not to be performed as a work of ordinary 
labour, but that due consideration was required for 
every portion of it. We must wish that longer 
time had been taken to finish the subordinate parts. 

No. 12. * A View of Bolton Abbey, Yorkshire,* 
C. Fielding. We are not to blame that » 

“ Thou hast dealt us memories so passing sweet, 
That naught less dainty now doth serve us.” 

We cannot help comparing Mr. Fielding, as he 
presents himself to us here, with himself in se. 
The force of certain styles of Art lies in their 
breadth and freedom ; that of others in their mi- 
croscopic finish, a quality which debilitates a sub- 
stantial firmness of manner. We wish this oil 
picture had partaken more of the tone of his water- 
colour works; it wants their breadth and sweet- 
ness : yet this comparative failure in him would have 
been a triumph to another. 

No. 20. * Vallone deiMalini, Amalfi,* C. Stan- 
field, R.A. A view in Italy, a sort of rocky 
defile, crowned in the near distance by one or two 
white Italian buildings. There are no trees to 
tell us so ; but the season is summer, or the thread 
of water, trickling down the picture and losing 
itself in the frame, would have been swollen to a 
brawling torrent. In the foreground there is more 
freshness than in the soil of Italy under its summer 
sky, gaping with innumerable cracks, like so many 
mouths opened to catch the largesse of the heavens. 
This picture throughout is inapproachable in its 
execution ; its tones are mellowed and harmonized 
with the nicest skill ; and the foreground is a pal- 
pable reality from which all would shrink, to whom 
a nigged ascent is at all objectionable. 

No. 21. ‘ Winning Gloves,’ J. C. Horsley. 


A lady sleeping in a chair, and a cavalier about to 
“ win gloves** by kissing her. In this picture 
there is much that is beautiful ; but brilliancy in 
the lights and depth in the shadows are counter- 
acted by a finish of parts which breaks the unity of 
these qualities. A care, even zu Hollandisch , has 
been lavished on unimportant matters in the com- 
position, while some of the same would have ad- 
vantaged the female figure, who sits uneasily; 
indeed she would seem to have thrown herself 
hastily into her seat, and feigned sleep on hearing 
the approach of the gentleman. The gloves will 
be won easily ; the lady is an accessary before the 
fact. We trust that artists will not receive un- 
graciously remarks like these, which can give 
us pleasure in proportion only as they may be pro- 
ductive of good. 

No. 24. ‘ The Invalid,' J. W. King. The in- 
valid is a lady reclining on a sofa reading. The 
picture is an effect of light, which is thrown so 
judiciously on the figure as to disengage it from the 
canvass. It is a work of good promise. 

No. 25. ‘ Portrait of a Gentleman,' M. Mul- 
ready. Pure and bright in tone ; the figure is 
easy in position, and we cannot fancy it otherwise 
than a likeness. 

No. 27. 1 Portrait of Lady Haddo,' Mrs. W. 
Carpenter. There is about the works of this 
lady a greatness of purpose rarely found in those 
of professors of portraiture. Her execution is 
worthy of the highest walk of art. In composition 
and general treatment this portrait is unexception- 
able. 

■No. 32. ‘ Mrs. Cooper, of Markree Castle, and 
youngest Children,' F. R. Say. A group of full- 
length portraits in a garden. The lady is seated 
with her head turned to the left ; the features are 
extremely felicitous in expression. The drapery is 
richly and effectively painted, and the background 
is put in with an old school feeling of which we can- 
not complain. 

No. 33. 4 The Dance,' W. Etty, R.A. — 

“ A figured dance succeeds ; a comely band 
Of youths and maidens bounding hand in hand, 

The maids in soft sitnars of linen drest, 

The youths all graceful in the glossy vest,” &c. 

The lines are a portion of the quotation appended 
to the title in the catalogue— they are from Pope’s 
Homer — the description of the shield of Achilles. 
None of Mr. Etty’s works that we have lately 
seen, have— being pronounced finished — been left 
in a state so studiously sketchy as this. A band of 
youths and maidens, as the lines above express, 
have joined in a dance, while, at the same time, 

“ Two active tumblers in the centre bound.” 

So subtle is this painter's apprehension of the 
graces of the female figure, that no production of 
his may we expect to see without a aemonstration 
of this power. We have, accordingly, one of the 
principal figures distinguished by the most accom- 
plished execution. In consonance with the regime 
of Mr. Etty's late works, this picture wants colour ; 
indeed it seems to have been kept down in tone by 
an effort. In how many more cases shall we have 
to lament the abandonment of particular styles 
which have nurtured reputation into fame ? 

No. 45. 4 Portrait of the Rev. Hugh Mac Neill,' G. 
Patten, A. This is a subscription portrait, painted 
for the congregation of St. Jude, Liverpool, by 
whom it is presented to their respected pastor, Mr. 
Mac Neill. The figure is in clerical robes, and the 
background is correspondingly grave : an arrange- 
ment which gives extraordinary force to the head. 

No. 46. 4 Welsh Guides, Llanberris, North 
Wales,’ W. Collins, R.A. A most sweet pic- 
ture ; three little urchins stand by the way side, 
with their small stock of merchandise, gathered in 
the neigbouring mines. In the foreground is water, 
and in the back-ground are the mountains. A dog 
at the feet of the juvenile group adds much to the 
interest of the subject. 

No. 48. 4 Schevcling Sands,’ E. W. Cooke. A 
work of great merit, which, in its particular style, 
is surpassed by very few of our British painters. 
It supplies evidence of a matured acquaintance with 
nature, and close observation of peculiar characters 
and effects. All the accessories of the scene are 
skilfully and happily introduced. 

No. 50. 4 Portraits, A Family Group,’ the late Sir 
David Wilkie, R.A. The figures in this com- 
position are three small full-lengths, circumstanced 
with all the truth and reality w hich characterized 
j Sir David Wilkie’s smaller works, lie having in 
‘ this, as usual, mustered his force in his figures, 


leaving the picture to stand or fall by their merits. 
The whole of the work has been subdued to some- 
thing of a Dutch household hue, which makes ns 
wish that its better parts had been more worthily 
toned. * 

No. 51. 4 The Course of the Greta through Brig- 
nal Wood,' T. Creswick. The title is followed 
by a quotation from the poem of 44 Rokeby.” The 
subject of the picture is a bower of greenwood, 
woven by nature over the course of the Greta, 
amid the rocks and stones of which struggles a 
shrunken thread of water. The foliage is painted 
with the accustomed excellence of this artist, and 
a portion of it conveys perfectly the effect of the 
light of the sun breaking without the screen of 
leaves. It would be difficult to exaggerate in prais- 
ing the works of this accomplished painter. He 
paints facts ; at least he always seems to do so, for 
his works are full of what appears strict truth; and, 
at the same time, he always contrives, to make a 
poem of a picture, no matter how insignificant may 
be the scene. A solitary tree, a lichen covered 
rock, a bubbling rivulet, become most graceful 
and most effective when touched by his almost 
magic pencil. 

No. 52. 4 The Dogana, San Giorgio, Citella, from 
the Step9 of the Europa,' J. M. W. Turner, R.A. 
Venice was surely built to be painted by Canaletti 
and Turner; her greatness scarcely held out till 
| the former had done with her ; and by the time 
the latter has given us his serial version there will 
be nothing left for anybody else to celebrate. 
These Venetian pictures are now among the best 
this artist paints, but the present specimens are 
of a decayed brilliancy; we mean, they are by 
no means comparable with others he has within 
a few years exhibited. A great error in Mr. Tur- 
ner’s smooth water pictures is, that the reflection 
of colours in the water are painted as strongly as 
the substances themselves, a treatment which dimi- 
nishes the value of objects. 

No. 54. 4 A Jewish Maiden in Exile,' T. Mog- 
ford. This, although placed high, seems to be a 
work of no common value ; there is much in it 
from which we augur excellence. The painter ap- 
pears to have appreciated truth of character, and 
to have manifested no inconsiderable ability in the 
execution of his task. 

No. 59. 4 The Lady Glenlyon,’ F. Grant. 
This is a charming portrait, as remarkable as any of 
Mr. Grant’s works, for its total absence of affecta- 
tion. The expression of the countenance alone is 
such as only a master of the art could achieve. The 
figure is seated, and relieved by a landscape back- 
ground. 

No. 60. 4 A bora me cognosces?' A. E. Cba- 
lon, R.A. A portrait of a Spanish lady removing 
from her face a mask, at the same time saying, 
44 Now do you know me?” The picture is dis- 
tinguished by national character, and all the arch- 
ness which should prevail in it ; but the hands 
seem too large, and we cannot help dedaringour 
greater relish for its author all ’ acqua f as the Dot- 
tore Linguadoro preferred his liqueur. 

No. 61. 4 Mrs. Beauclerc,' F. Grant. A small 
portrait. A lady lapping her dog. It is surpassingly 
beautiful ; a most sweet subject, most exquisitely 
copied. The painter informs us who the lady is ; 
one of 44 lineage high and proud ;” but if it were 
possible to imagine one so graceful and beautiful, 
the spouse of a cheesemonger, the picture would 
lose nothing of its value. The lady is nothing to 
us ; yet we do eagerly covet her portrait ; we fancy 
we might grow better in heart and mind by fre- 
quently looking upon it. 

No. 62. 4 The rlay Scene in Hamlet,' D. Ma- 
clise, R.A. As a work of Art this painting is 
worthy of association with the more magnificent 
creations of the great poet. It is, in all respects, 
a chef -ef ’ oeuvre of the British school. Fault ess it 
is not ; but its faults are of very minor import in 
comparison with its perfections. There may be 
too much horror expressed by the group to the 
left, who are ignorant of the consequences of the 
experiment on the 44 conscience of the King ; ” and 
in the perspective to the right, there seems to us to 
be something wrong ; but in all the grander quali- 
ties it approaches very near perfection. Ophelia 
has been objected to for the very reason in which 
wc think the merit lies — she expresses sympathy, 
rather than love, for Hamlet ; and in the counte- 
nance of Hamlet there is just the character we look 
for from familiar acquaintance with the poet's 
work— a mingling of horror, abhorrence, and ven- 


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geance to be taken — yet still a “ letting I dare not 
wait upon 1 would.’ How famously is this con- 
trasted with the calm but resolute watching of 
Horatio ! How grandly depicted is the sudden 
and amazed remorse of the King ; how admirable 
the wonder, mixed with suspicion, and yet consci- 
ous innocence, in the Queen ! But the triumph of 
the picture is, unquestionably, 44 the play ” acted 
in the background. What a sublime conception ! 
— how intrinsically full of poetry is the figure of 
the murderer seeking to shadow his face from the 
yet lingering light of day — and the dim gigantic 
form, his huge outline, reflected from behind ! The 
play is, indeed, 4 ‘Me thing.” As an example of fine 
drawing it is unsurpassed ; in all the highest attri- 
butes of Art it will rank among the most memor- 
able productions of our school. 

No. 63, 4 Portrait of the Queen,’ J. Part- 
ridge. This portrait will not be a favourite with 
the English people. It is not a pleasant likeness ; 
and as a painting it is ungraceful. 

No. 69. 4 Portrait of Mrs. Pulleine,’ H. W. 
Pickersgill, R. A. There is, in this portrait, 
much truth and beauty, but it is marked by an 
execution which declares abundant occupation. 
The neck wants purity of tone— there is a haze, in- 
consistent with the warmth of life. Other portions 
of the work are painted with the known excellence 
of the artist. 

No. 70. 4 Portrait of Mrs. Richard Bevan,’ T. 
Phillips, R.A. A beautiful and most effective 
portrait. It absolutely looks out of the canvass. 

. No. 71. 4 Ophelia,’ R. Redgrave, A. R. A. 

' “ To one thing constant never” — verily should we 

I not have recognized Mr. Redgrave in this picture ; 

| not, be it understood from a want of excellence, 
j but from its inconsonance with all our impressions 
of its author. The title is followed by a quota- 
I tion — 

I 44 There is a willow grows ascaunt the brook,” 8cc. 

and, according to its description, Ophelia is occu- 
pied in making 44 fantastic garlands” of 
44 Crow-flowers, nettles, daisies, and long purples.” 

She is pale— woc-begone — and her restless, fevered 
eyes, bespeak a mind diseased. The painting of 
her dress, which is white, resembles the manner 
of some of the old masters, a feeling which is ex- 
tended to the banks of the brook, this part of the 
work being enamelled on the canvass like the fore- 
ground of some of Giorgione’s garden scenes. 

No. 72. 4 The Tired Soldier resting at a Road- 
side Well,’ F. Goodall. We have had frequent 
occasion to speak in terms of the highest enco- 
mium of this young artist ; but we marvel that he 
should delay so long to 44 flesh” his pencil in Eng- 
lish scenery. The composition of this w f ork carries 
us over to Normandy, or Brittany it may be. It 
consists of but few figures — a man with an ass, 
the old soldier seated near the well, and a pay- 
tonne drawing water. The figures are powerfully 
characterised ; the female is a repetition, but this 
is a foible of some of the greatest professors of the 
Art. The work altogether is certainly not a retro- 
gade movement. 

No. 73. 4 Campo Santo — Venice,’ J. M. W. 
Turner, R.A. Again— Venezia la ricca — water, 
and a few lustrous buildings in the distance. 
We have seen many of Mr. Turner’s pictures, 
which, although not highly coloured, vie in 
beauty with anything he has ever done ; these 
were constituted of the same materials as this, 
and similarly treated, but yet infinitely superior 
to it. The infirmity of which we complained in 
the other picture is more distinctly shown here in 
the reflection of the sail of a boat, which is painted 
up to the force of the sail itself, producing at a 
near view a false effect, which is not improved by 
distance. 

No. 79. 4 Devonshire Scenery,’ F. R. Lee, R.A. 
The productions of this artist afford us very ac- 
curate representations of effects the most volatile 
in nature, and consequently the most difficult 
to define upon canvass. The objects composing 
this 4 Devonshire Scenery,” are found everywhere 
and painted continually ; but rarely, very rarely, 
with the profound intuition which is conspicuous 
in every part of this picture. The water has motion. 

No. 83. 4 Portraits of Scyron and Tit,’ A. 
Cooper, R.A. A lurcher and a diminutive ter- 
rier, which having been upon the stroll together, 
have hunted down a hare, over which the pair are 
panting in exultation after a hard run. The back- 
ground is a moor thrown into deep shadow, and 


overhung by pinky clouds which do not contribute 
favourably to the picture. 

No. 91. 4 The Ford,’ W. Mulready, R.A. A 
main 44 virtue” in the works of Mr. Mulready is, 
that they tell their own story without the ai(i of 
descriptive title. The reading of this picture is so 
simple that such a remark is not called for in 
speaking of it ; although it partakes of the cha- 
racter of others, where we find in connexion 
with the immediate subject, a previous and a sub- 
sequent tissue of relations. Here two youths are 
bearing a maiden across 44 The Ford,” while the 
remainder of the party (the old people) are about 
to follow on horseback. It sustains the high re- 
putation of its author ; it is a work of surpassing 
beauty, grace, and excellence — one of the most 
valuable paintings ever produced in England. 

No. 92. 4 Maria,* T. Uwins, R. A. A most 
sweet and delicate composition ; a touching and 
effective reading of the famous story in the 44 Sen- 
timental Journey.” 

No. 94. 4 Dorothea,’ H. Le Jrunb. A good 
example of rising genius ; but the artist must study 
nature more and academic models less. This is 
broadly and forcibly coloured, and is a decided 
approach to excellence. 

No. 95. 4 Dorothea disguised as a Shepherd Boy,’ 
T. Uwins, R.A. This is a small picture, treated 
with so much of the spirit of Michael Cervantes 
as to show, if evidence were wanting, that the ac- 
complished painter is not less at home in such sub- 
jects than in those Italian scenes, for which he has 
created so strong and general a taste. 

No. 96. 4 Otters and Salmon,’ E. Landseer, 
R.A. In the catalogue of the last year this name 
did not appear— a hiatus which taught us all the 
real value of him who bears it, perhaps, as much 
as anything else could have done. No artist was 
ever more purely national than Mr. Landseer ; the 
public have persuaded themselves into the idea of 
an annual claim upon him, and the long accus- 
tomed indulgence having been but once withheld, 
complain loudly of a breach of prescriptive privi- 
lege. In this picture, an otter having secured a 
salmon, which it has dragged to a rock, is dis- 
turbed in his intended repast by another animal 
of the same species, desirous of sharing the prey. 
The animals are painted in a manner so substanthd, 
as to approach the reality as nearly as art can ever do. 

No. 97. 4 Scene from Twelfth Night,’ C. R. 
Leslie, R.A. — 

Sir Toby.— Accost, Sir Andrew, Accost. 

Sir Andrew.— What’s that? 

Sir Tolu/.— My niece’s chambermaid. 

Sir Andrew.— Good Mrs. Accost, 1 desire your 
acquaintance. 

The productions of this artist are figure-pictures 
in the strictest meaning ; his persorup being ac- 
companied by circumstances just barely enough 
to signify the scene of action. He does not call 
our attention to the perfection of his upholstery — 
such a diversion being unnecessary. The figures 
are here but three in number ; Sir Toby is seated, 
and Sir Andrew turns his back to the spectator in 
the act of 44 accosting.” The picture excels in 
character, the Jovte of this artist, but the point of 
sight is unusually high ; this which may, or may 
not be a fault, is but as a speck on the sun. The 
work is of rare value ; intrinsically excellent ; cal- 
culated to satisfy and gratify the mass no less than 
the critic ; and, to the highest degree, delightful 
to those who can thoroughly comprehend and 
fully appreciate almost the nearest approach to 
perfection of which the Art is capable. We cannot 
regret that it manifests a design to return to his 
former tone of colour, and an intention to abandon 
the unnaturally white hue that of late often spoiled 
the effect of a graceful, a beautiful, or a powerful 
conception. 

No. 98. 4 The Highland Shepherd’s Home,’ E. 
Landseer, R.A. Another exquisite work of the 
artist, who is as completely 44 at home” as the 
shepherd himself in a Highland bothy. The sub- 
ject is a most pleasant one : a happy mother is 
gazing on the face of her first-born sleeping in its 
cradle ; the father, with his rougher countenance, 
but equally thankful expression, sits by her side ; 
and the guardian dog is at his post. 

No. 99. 4 Desire,’ J. J. Chalon, R.A. A 
work of no common merit, with some qualities in 
the production of which it has been surpassed by 
few. As a landscape it is remarkable ; a fine and 
powerful tone of colour pervades it ; and the reality 
of the scene is preserved with great ability. The 


comment upon the word 44 desire” is made by agroup 
of youths and maidens in a boat ; one of the lads 
is striving to reach a water lily — apt gift for the 
lass beside him ; the boat, however, has grounded, 
and can advance no nearer to the tempting object. 
There are few to whom the incident is not familiar ; 
few who have not found the long stalk of the 
water lily slide from his grasp. Although a fre- 
quent occurrence, the use of it thus is very origi- 
nal. The shadow of the boy in the water is surely 
too strong ; at first sight we fancied it a drowned 
youth, turning upon his light-hearted companions 
the ghastly look of death from beneath the clear 
wave. 

No. 104. 4 Prayer ; a Family about to leave 
their native shores imploring Divine protection,’ 
W. Collins, R.A. The scene is Italy ; the sun 
is below the horizon ; and before a pubhc crucifix, 
planted on the sea-shore, a family are kneeling in 
prayer. A lamp is burning before the image, and 
its rays fall upon the figures, bringing them forth 
out of the dark back ground with most felicitous 
effect. The work is pervaded by the finest senti- 
ment. It is probable that the balancing of the 
composition may be questioned, as the group is 
assembled on the right of the picture ; but this 
arrangement leaves a void which may contribute 
to its grave tone. The wayfarers have no friends 
on earth ; darkness and solitude are before them. 
This is a picture of a high poetic rank, doing 
honour alike to the head and heart of its accom- 
plished author. 

No. 115. 4 Inquiring for the Ferry— Evening on 
the banks of the Thames,’ T. S. Cooper. It has 
often been regretted, that in the pictures of this 
most able and justly- popular artist the figures are 
not so well painted as the cattle — if they were, a 
large proportion of his works would be faultless. 
We are content that the dish which he contributes 
to the banquet is tovjours vache — we are satisfied, 
because no one else could supply us with such 
material so good ; and a monotony in Art is more 
tolerable than in anything else ; were it not so, 
painters innumerable would be exhausted before 
their prime. This picture consists of a few cows 
tended by a woman, very indifferently painted, of 
whom a man is ‘‘inquiring for the terry.” Mr. 
Cooper’s works generally present us with two 
skies — one so heavy that the cattle lean against it, 
the other clear and atmospheric, of which latter 
this picture presents an example; notwithstand- 
ing these defects, this gentleman is the urttus 
maximus of the milky way. We beg his 
pardon for the comparison, but will let it stand ; 
only hoping that ere long he will have the good 
fortune to add to his herd. 

No. 116. 4 Portrait of his Highness Mehemet 
Ali, Pacha of Egypt,’ the late Sir D. Wilkie, 
R.A. This is a small portrait treated in the simplest 
taste. It is marked by much of the signal excel- 
lence on which the fame of Wilkie rested; and 
although not of a size to receive the finish he be- 
stowed upon his small figures, it was yet small 
enough to escape the manner of his large portraits. 
The famous Pacha is habited in black velvet, and 
looks precisely the man he is known to be. 

No. 117. 4 Portrait of his Imperial Majesty the 
Sultan Abdul Meedgid,’ the late Sir D. Wilkie, 
R. A. The Sultan is costumed in the European 
taste, and seated on a sofa. No sooner does the eye 
rest upon this figure, than the attention is roused 
as if a voice had proceeded from its lips. The pos- 
ture, although sedentary, is one of movement, not 
of repose. This picture, which is of the same size 
as that of the Pacha, has not been filled in by the 
hand of Wilkie, but the other we believe was. 

No. 121. 4 Portrait of James Aspinall, Esq.,’ 
T. H. Illidge. A portrait of a right good class ; 
soundly and carefully painted ; and as we happen 
to know the original, we can testify to the striking 
accuracy of the resemblance. 

No. 123. 4 The Lesson,’ T. Uwins, R. A. One 
of the beautiful Italian subjects whence Mr. Uwins 
has raised for himself an enduring fame. The 
scene is the loggia of the cottage of a vine-dresser, 
where, under the shade of a vine, the family are 
assembled on a festa day. The child of the vine- 
dresser is receiving a lesson in the steps of the 
tarantella from the mother, while the grandmother 
touches the tambourine. This work is highly suc- 
cessful in character and expression ; it manifests a 
fine feeling for nature — happy nature, in its rich 
and full and pure enjoyment ; and is remarkable 
for excellent qualities as a production of Art. The 



122 


THE ART-UNION 


[June, 


possession of one of this painter’s pictures is a per- of which would have been enhanced by something One of those interiors which seem dimi n i s hi ng in 

petual feast; one that contents without overloading less original, and more ordinarily natural. number with each successive year. A cottage 

the mind. In the joyous and sunny countenances No. 141. 4 Ziva, a Badger Dog,' belonging to family have placed themselves at table, and the 
he so loves to pourtray — reflection of tempers un- the Hereditary Prince of Saxe Coburg-Gotha, precise point of time chosen by^ the artist is thatat 
disturbed and hearts at ease — one can fancy the E. Landseer, R.A. Ziva is by no means one of which the 44 head of the house" says grace. Tne 
artist copying his own gracious and generous the beauties of his species — a black, glossy, short- substance of the dinner seems to be a 44 singit 
thoughts— ana loves for all human things that are legged animal, with an eye of intense meaning sheep’s head." The picture is well painted 
good and happy. fixed upon an apple which a monkey is rapidly throughout. 

No. 127. * The Challenge,* F. P. Stephanoff. devouring. To say that the monkey is as well No. 158. ‘Frankfort/ G. Jokes, R.A. A 
44 None but the brave deserve the fair," is the given as those of years and years a$o by the same picture of a style of Art which has been more or 
spirit thrown into the demeanour of a burly gen- hand, is to say enough. The dog is living, and even less imitated by every school in Europe, but in 

tleman occupied in the serious business of deliver- warm on the canvass ; there is very little gradation which the English school stands yet unrivalled, 

ing a challenge, which is received by the party of shade on his coat, but he is nevertheless of an Somewhat more of finish would have increased its 

challenged with a simper that would argue some- astonishing roundness. value : it is, however, marked by many excellent 

thing of contempt for the challenger. The subject No. 142. ‘ The Grandmother/ T. Webster, Qualities ; and of its class, may be placed in a very 
of dispute is a lady, who is concealed behind a A.R.A. Two figures— a child receiving instruction foremost rank. # 

screen. The picture is extremely rich in subdued in reading from his grandmother. The repugnance No. 159. ‘A Greek Girl preparing for the 
colours, and remarkable, as are most of the works to the task, manifested in the countenance of the Toilette/ A. Geddes, A. The work in this 
of its author, for the play of the limbs of the pupil, is expressed with a truth resulting from the production comes forward with the utmost fresh- 

figures. The story is not very clearly told. It nicest observation ; the boy looks out of the pic- ness and the most perfect beauty. The drapery U 

occurs, we believe, in some modern novel, but we ture, and is willing to be amused with anything described with consummate skill; but character is 
cannot call it to mind ; and are uncertain whether save the matter in hand. wanting to the head to warrant the title * A Greek 

the burly gentleman be the mere bearer of the No. 145. ‘A Pair of Brazilian Monkeys, the Girl.' Such pictures are continually painted of 

cartel, or the actual competitor for the hand and property of Her Majesty/ E. Landseer, R.A. necessity from English models, but in most cases 

heart of the wily mb' tress. This is a small picture, and the diminutive animals a national character is communicated to the sub- 

No. 128. ‘ Isola Bella, Lngo Maggiore/ C. are mounted on a pineapple, regarding with in- ject. Deducting somewhat, therefore, from its 
Stanfield, R.A. Tne fidelity of the pencil of tense astonishment tne proceedings of a wasp near value on this ground, there are few modern paint- 
this artist, in rendering the likeness of a locality, them. This little work is characterized by an ex- ings superior to this ; it is rich, firm, and sound ; 
is not to be surpassed; the perfect identity of the tremely high finish; and the mixture of surprise, and at the same time refined to delicacy. The ex- 
scene itself with the picture will be acknow- curiosity, and apprehension, could not have been pression of the countenance is peculiarly sweet; 
ledged by all who have seen both. Mr. Stan- more successfully expressed in the human subject, the attitude is strikingly graceful ; and it abounds 
field docs not paint the southern sky with such No. 147. ‘The Impenitent/ T.Webster, A.R.A. in proofs that the painter is thoroughly a master 
a blaze of affected purity as we are so often This little picture requires no title ; so well do the of nis art. 

accustomed to see ; but his version is not the less circumstances hang together. A boy having been No. 166. 4 An Italian Landscape/ composition, 
true: we sec his distances through a volume of disgraced, is placed in what seems to be a kitchen, Sir A. W. Callcott, R.A. Here is a mingling 
air, of which there is no apprehension in the bulk to do penance with his book as his only companions ; of ancient and modem history; the crushed and 
of our painters of Italian scenery : the whole of but his heart is hard, there is in his face no contri- fallen diadem of old Italia is at our feet, in contrast 
this picture is most skilfully cleared up by a piece tion, he stares at you with such a look, as signi- with the alia qiomata , the perking tile-covered 

of broken rock, &c., as foreground. fies that he only waits for the opportunity ot re- houses of modern Italy. The foreground is in 

No. 13J. ‘ Tne Mother.’ The name of the peating his fault. Others of his class-fellows are shadow, and so elevated as to afford a distant pro - 
artist is printed Lander, but it should be R. S. seen in another room, undoubtedly pursuing the rou- spective. In the middle distance flows a broad 
Lauder. Tne work seems to be a portrait. We tine of “ good " children. A valuable gleam of light and winding river, across which stretches an old 
have remarked in the productions of this gentle- penetrates the gloom of the impenitent’s cell ; it Roman bridge of many arches ; it is broken and 
man a laudable effort to give, in composition, a fdls upon some broken earthenware, to illustrate, dilapidated, and is the work, we are here shown, of 
tone of sentiment to portraiture. There is yet perhaps, more pointedly the direct impulses of his another time, when another genius presided over the 
room enough for sentiment in heads. A certain organ of destructiveness. destinies of the land, called by Virgil terra beata. 

confusion in the drapery might lead the spec ator No. H8. ‘Scene from Henry VIII.’ C. R. The extreme background, managed with unexam- 

to impugn the drawing ; the work, however, bears, Leslie, R.A. We remember a very similar pled skill, fades into the grey mist of the remotest 
in in my parts, the impress of originality and version of the same subject by Mr. Leslie, which distance. This great artist (as well as others of 
power. was engraved in one of the “ Annuals." The high reputation) repudiates here the vulgar error 

No. 130. 4 A Portrait/ E. M. Ward. We no- Queen is seated, and her attendant stands behind of painting a crude blue sky, and calling it “ Ita- 
tice this small and unpretending portrait, chiefly her with a lute. It is a graceful and beautiful and lian." 

because it is a likeness that will instantly strike all very touching composition; telling forcibly the No. 167. 4 Advice Wasted/ E. V. Rippingille. 
who have seen the original— off the stage, that is to sad story of the crowned queen, whose A bandit is idly listening to the earnest counsel of 

say, when Mr. O. Smith is not the “ discontented „ g ou j rew ga( j with trou k] e8 *> a friar — 4 Advice Wasted.’ The picture possesses 

and repining spirit" he usually represents. ** * considerable merit; the characters are pourtrsyed 

No. 136. ‘ Sisters,’ C. L. Eastlake, R.A. No. 153. 4 Portrait of James Walker, Esq., with great ability ; but the style is crude and hard, 

This is the only picture contributed this year by LL.D./ &c. &c. J. P. Knight, A. This portrait the excellent artist having obviously fallen into the 

Mr. Eastlake— a disappointment of which we hear L painted with that kind of care which gives due error so general with our English artists, who have 
complaints in every quarter— expressions of im- value to every part of the composition, without lived just long enough in Italy to learn to paint 
patience highly complimentary to the author— for interfering with the importance of the figure. The nature as she is not — anywhere else. They get rid 
were he never again to exhibit, his work of the last likeness is striking, and the expression significant of the evil habit in time, and so will Mr. Rippingille ; 
year was one that raised him to the level of the and conversational. The various textures of the while the strength and originality of his mind will 
greatest masters of expression who have ever lived, objects and materials are made out with the nicest be unimpaired. 

The elements of this production are of every day — truth. No. 168. 4 Tired Pilgrims/ P. F. Poole. Two 

two female figures in a garden painted with a Ger- No. 154. 4 Ambledon Ferry, near Henley on sisters, worn out by travel, are resting in the soli- 
man, or rather an old Italian, feeling. The citadel Thames.’ W. F. Witherington, R.A. There tude through which their path lies. One has fallen 
of the strength of the painter is, as usual, the fea- will be two opinions in reference to this picture, asleep, supported by the arm of the other. The 
tures, which discourse with abundant eloquence in Those who demand a high tone of art, harmony of free and firm manner of the artist is perceptible 
the language of the heart. If the perfection of colour, and vigour in execution, will be dissatis- in every part of the work, which is of nigh merit, 
didactic art be to arrest and enregister the emo- tied with it ; but it will more than content those The picture is a fine moral lesson. We are safe 
tions in the characters of that tacit language intel- who love nature, and love to see her copied by a in foretelling the future distinction of the painter, 
ligible to every human eye — if it be to translate the "friendly" hand. The several accessaries — the He looks into nature closely, but kindly ; his copies 
soul with its deepest and purest affections to the group, the boat, the horses, are skilfully 44 put of her works are never exaggerations either of her 
countenance — then are the works of this gentleman in;" and a pleasant English character — fresh and beauties or her deformities; he loves to pourtray 
the essence of that perfection. If Mr. Eastlake green, and simply happy — pervades the work. If the delicate and the graceful, but also the true, 
exhibits this year so very little as to create a want not the production of a powerful pencil, it is the His productions are just such as thousands will 
which the whole gallery cannot supply, our readers work of a graceful one, influenced by a kindly covet who desire excellent displays of Art, but re- 
know that he has not been an idler — that his time spirit and c generous mind ; and cannot fail to quire something more than mere artistic skill in 
has been less spent in extending his own great fame, I afford enjoyment to such as desire natural and objects they wifi daily be called upon to contem- 
tlian in laying a foundation lor the fame of his pro- true copies of scenes and incidents peculiar to plate. 

fessional brethren. We can ill spare him from this England. The critic may murmur ; but the mass No. 171. 4 Portrait of Prince Albert/ J. Par- 

annual banquet; but we know that his absence will be pleased. tridge. We cannot congratulate either the ar- 

froni it is rather matter for rejoicing than regret. No. 156. 4 Horses pursued by Wolves/ T. tist on his production, the Prince on the copy, or 
It augurs of noble deeds of which we shall some Woodward. A herd of horses have been 6ur- the Duchess of Kent, whose property the portrait 

day have ample evidence. prised on the skirt of a wood by a pack of wolves, is to become. This portrait andf that of her Ma- 

No. 140. ‘ The Highland Gillie/ A. Cooper, some of which are already in the midst of them, jesty, its 44 companion," are strikingly inferior to 
R.A. A sort of Callum Beg, as wild as the heather The terror and confusion of the animals are the portraits of the Queen and her Royal Consort, 
of his native hills ; he is in charge of a shooting described with a power and reality which bespeak exhibited last year, the works of the same painter ; 
pony and a lurcher — a favourite race, by the way, long and diligent study. The horses are nume- and which are in process of engraving, the one by 
with this artist. A fine highland background j rous, and the artist seems to have courted every | Mr. Doo, the other by Mr. Robinson. These two 
cloves the scene ; but the clouds arc of a most dis- difficulty of position and circumstance, and has were, at all events, very pleasing transcripts of 
tempered hui — a pinky mannerism, which marks ! acquitted himself to admiration. the originals; valuable as likenesses, and good as 

so many of the pictures of this artist — the value 1 No. 157. ‘ A Scottish Dinner/ A. Fraser. 1 works of Art. 


Digitized by 


1849.] THE ART-UNION. 123 

No. 172. 4 Hymen burning the Arrows of 
Cupid,’ G. Patten, A.R.A. This, although a 
“ conceit,” is a striking and original one ; — a good 
idea, skilfully treated, and painted with much 
ability. 

No. 178. 4 Portrait of his Grace the Duke of 
Richmond,’ S. Lane. A capital portrait; accu- 
rate as a likeness ; and painted with freedom, force, 
and right good feeling. 

No. 180. * A River Scene,’ T. CasswrcK. 
Another of Mr. Creswick’s delicious copies of 
nature; somewhat too green perhaps ; but refresh- 
ing to the eye and mind ; and making the pale 
student miserable, as the fox in the fable, when the 
grapes were beyond his reach. 

No. 181. * Poor Arabs,’ a sketch, W. Muller. 
Few productions of our school are more original 
than the “ sketches” of this gentleman. His poor 
Arabs, humble enough, are seated on the ground, 
begging of some wealthy Mussulmauns. Every 
figure is purely Oriental, all having been undoubt- 
edly transcribed from the life. The background 
may be a fragment of some one of the Egyptian 
cities visited by Mr. Muller in his recent tour 
in the dominions of the new Pharaoh. 

No. 182. 4 Snow Storm,’ J. M. W. Turner, 
R.A. Through the driving snow there are just 
perceptible portions of a steam -boat labouring on 
a rolling sea ; but before any further account of 
the vessel can be given, it will be necessary to wait 
until the storm is cleared off a little. The sooner 
the better. 

No. 184. 4 Thebes, looking across the Great 
Hall, Karnac,’ D. Roberts, R.A. This picture 
presents to us a view of the vast substantiality of 
Egyptian architecture, which would seem unwil- 
ling to decay, save with the world itself. The 
painting is executed with the usual perspicuity of 
its distinguished author ; the shadows are clear and 
support admirably the higher tones. 

No. 185. 4 Portrait of a Lady,’ Gambardella. 
The work of a modern Italian artist, and one of 
high merit. The portrait is very life-like. 

No. 190. 4 Portrait of Sir James Eyre, M.D., 
G. Patten, A. Many of the most valuable points 
of portraiture are discoverable in this work. The 
treatment and accessaries are becoming the pro- 
fession of the learned and excellent original, of 
whose person the figure is a striking transcript. 
The materiality of the features is perfect in resem- 
blance ; not less so is their morale, wherein we read 
a category of the milder virtues. 

No. 201. 4 The Battle of Preston Pans,’ W. 
Allan, R.A. The particular period of the battle 
is that of the death of Colonel Gardiner, who is 
a foreground figure, mounted on a grey horse, 
from wnich he is about to fall having been mortally 
wounded. Gardiner’s Dragoons are in full retreat, 
and the English Infantry are surrounded and cut 
down by the Highlanders. On the right of the 
picture Charles Edward is riding up, attended by 
the Duke of Perth. The artist has bestowed upon 
the action and passion of the work the utmost 
study, and with the best results. The picture is, 
indeed, one of the best of its class that has been 
produced in this country. To represent a battle is 
a task of no common difficulty — it must be all 
action ; to convey an idea of the several incidents 
that occur, so as to come up to the imagination of 
the spectator, is almost impossible. The artist has 
very nearly reached this point. In all its minor 
details the work possesses great merit : there seems 
to be no portion that has not been carefully con- 
sidered. It is the production of a man of industry 
as well as of genius. 

No. 202. 4 Juliet and the County Paris at Friar 
Lawrence’s Cell,’ J. Hollins. Even under the 
most skilful treatment this is a subject which 
would yield but a meagre return. We have be- 
fore us the three figures with much power of paint- 
ing, but the soul of the matter — their discourse— is 
ill sustained. 

No. 208. 4 Innocence,* J. P. Philip. A 
graceful and happy thought communicated with 
skill and judgment. We rejoice to find the name 
of the artist among the exhibitors ; we have missed 
it for some time. Although we have here but a 
limited notion of his progress, it is by no means 
unsatisfactory. 

No. 210. 4 A Portrait,’ Miss E. Setchel. A 
luminous and life-like little work ; but there is a 
want of drawing, which it would well repay any 
care to remedy. 

MIDDLE ROOM. 

No. 212. 4 The Death Bed of John Wesley,* 
M. Claxton. Some twelve or fourteen portraits 
are comprehended in this work, which is far 
superior to the bulk of its class. The principal 
lignt falls upon the dying man, around whom are 
grouped members of his family and friends. It is 
mil of good drawing and good colouring ; and the 
grouping is admirable. 

No. 213. 4 Reading the Letter,’ T. Clater. 
A picture painted with the artist’s usual ability in 
depicting nomely or domestic scenes ; the subject 
is taken from a story by Mrs. S. C. Hall — an 
author whose works, we venture to say, supplies 
many good themes for the pencil. It relates an 
incident of a young girl who, being unable herself 
to read her lover’s letter, is compelled to communi- 
cate her secret to an aged recluse. The incident is 
related with much truth, simplicity, and effect; 
and it is very carefully finished. 

No. 214. 4 The Look Out — a Swiss Soldier of 
the sixteenth century,’ J. A. Houston. This, 
although a small and unpretending picture, appears 
to possess considerable merit. It is the produc- 
tion of an artist with whose name we are not 
acquainted. 

No. 222. 4 The Cottage Door,’ P. A. Mul- 
ready. An admirably painted picture, possessing 
great merit; the figures, however, are too large 
for the canvass. This young artist seems bent 
upon overtaking his accomplished father. 

No. 227. ‘Winchester Tower— Windsor from 
the Thames,’ F. W. Watts. A chalkiness of tone 
pervades this landscape, but for which it would 
be a picture of high merit ; as it is, the foliage is 
made out with a decided and crisp touch, and the 
shadows are so graduated as to give fulness and 
luxuriance to the masses. 

No. 228. 4 The Chapel of the Convent of St. 
Catherine on Mount Sinai,’ D. Roberts, R.A. 
Gorgeous as is this interior, we miss those effeets 
to which Mr. Roberts has now so long accustomed 
us, that we complain of their absence. The pre- 
sent picture is painted in subdued tones, mellowed 
into one grand and harmonious whole, which, in 
the precision of its details, excites our unbounded 
admiration ; yet this picture is not the style of 
Robert* we should think of adding to a collection 
of our own. 

No. 229. 4 The Contest of the Lyre and the 
Pipe in the Valley of Tempe,’ F. Dan by. We 
seldom see a picture by this artist without expe- 
riencing as much pleasure as the contemplation of 
a picture can give. The ancient poets have been 
much followed by artists in bucolical composition; 
but the general range has seldom got beyond dry 
academical inanities. The presented work consists 
of two magnificent compositions — the Contest — and 
the 44 friyida Tempe*'— of Mr. Danby’s most 
Thessalian brain ; the latter a landscape to awaken 
in the heart of every churl a passionate love of the 
beauties of the world he lives in. It is evening, 
and the sun is looking for the last time on that 
day on the brow of Ossa, while the river Peneus 
flows below with a light borrowed from the skies ; 
but the picture should be seen, it cannot well be 
described. Mr. Dauby is a kind of ancient redi^ 
virus, he must have also lived at a period anterior 
to these iron times. Virgil surely alludes to him 
in these lines — 

“ Fortunatus et ille, deos qui novit agrestes, 

PanaqueSylvanumque senem Nymphasquesorores!” 

By the same artist is No. 236. 4 A Soiree at St. 
Cloud in the reign of Louis XIV.’ Another style 
of subject, but treated with exquisite feeling. 

No. 237. 4 Queen Elizabeth, widow of Ed- 
ward IV. delivering the young Duke of York into 
the hands of Bourchier, Archbishop of Canterbury.’ 
E. M. Ward. This excellent artist is success- 
fully pursuing, with zeal, energy, and industry, 
the highest walk in his profession. He evidently 
reads and thinks ; and is not content to transfer 
merely what he sees to canvass. We have occa- 
sionally under his hand, convincing proofs that 
he labours to cultivate his mind — so that in pic- 
turing historic personages, and in depicting nis- 
torical events, he may bring knowledge, and the 
advantages of comparison, to bear upon his work : 
and this is the sure way to achieve excellence. 
Here also, as elsewhere, we perceive proofs that 
his powers of execution are strengthened by study ; 
and that while he strives to mature intellect, he 
does not neglect the less essential but very im- 
portant objects of the artist. Every part of this 

work is carefully finished ; the story is skilfully 
told ; and the characters are represented with ad- 
mirable truth of purpose. 

No. 240. 4 Sorrento, Bay of Naples,’ W. Col- 
lins, R.A. A small upright landscape, painted 
with infinite sweetness. We have in it a mere 
snatch of the Bay, but (che vorreste ?) with such 
a foreground we do not miss it. The following 
number, 4 Villa d’Este, Tivoli,’ is by the same 
accomplished artist ; painted with a fine percep- 
tion of the beauties of nature. 

No. 244. 4 Cinderella,’ R. Redgrave, A.— We 
find here an exertion of those powers which so emin- 
ently distinguish this artist. The sisters have just 
tried the slipper, into which, from its dimensions, 
it is easily seen they have found it impossible to 
compress their feet ; and the Prince is bringing 
forward Cinderella for the same purpose. We 
read in this work the fairy tale over again — not 
only its main incident, but also all the by -play, in 
the description of which the imagination of this 
painter is so rich. The sneer which curls on the 
features of the envious sisters is rendered with 
much power, as is also the retiring demeanour of 
Cinderella. In colour the picture is rich, and in 
effect most successful. 

No. 251. 4 Going to School.’ T. Webster, A. 
The subject is a school-boy about to depart to a 
boarding-school. The room resounds with the 
note of preparation, and is strewed with such 
items, in addition to those of a boy’s equipment 
on such an occasion, as a fond mamma provides 
for a darling of whom she is to lose sight for at 
least a quarter. In this walk of Art Mr. Webster 
is unrivalled ; and this is equal to his best works. 

No. 252. 4 Scene from the Tale of the Bold 
Dragoon,’ F. P. Stephanoff. A manner cleaves 
to a painter through his life — it is a sort of fami- 
liar, ever mocking him with the point of his own 
pencil — it begins with his beginning, lives with 
Dim, and sees the last of him. The manner of 
this artist is a pleasant one, although sometimes 
in his movement pictures the figures are a trifle 
too theatrical. In this case the canvass is filled 
up with the usual tact, and overspread with the 
rich and deep tones which mark the pictures of 
Mr. Stephanoff. The 4 Bold Dragoon' is in per- 
son a fine fellow, but in features too feminine, a 
failing we have before observed in the pictures of 
the artist. 

No. 253. 4 A Fisherman's Cove,’ E. W. Cooke. 

A nook on the sea-coast, apparently so retired 
as — setting aside the fisherman himself— to be 
haunted only by the screeming sea-mew. It is 
painted with the usual ability of this excellent and 
able artist. 

No. 255. 4 Breeze, a favourite Retriever,* E. 
Landseer. A picture signalised by all the beau- 
ties of this artist’s canine portraits. 

No. 256. 4 Mary, Queen of Scots, when an in- 
fant, stripped by order of Mary of Guise, her 
mother, to convince Sadler, the English ambas- 
sador, she was not a decrepit child, which had 
been insinuated at Court,’ B- R. Haydon. The 
mere choice of a subject from history does not 
constitute historic painting. The ajtik has long 
been labouring to show that modern painters can- 
not achieve 44 great Art ;” and he exhibts a picture 
to prove the truth of his assertion. The work ap- 
proaches excellence in no one quality ; it is neither 
well conceived, well drawn, well grouped, nor well 
coloured. It has no claim whatsoever to a rank 
beyond that of the merest mediocrity. It contains 
nothing that a mere tyro in the Art might not have 
achieved. 

No. 258. 4 Paul and Francesca, of Rimini,’ H. 
O’Neil. This is a work of a much higher class : 
we do not allude to its position — where it certainly 
ought not to have been — so much nearer the ceiling. 
The subject, as will be remembered, is from Dante, 
taken from the sad story related by Francesca da 
Rimini, in the second circle, the place of punish- 
ment for the luxurious. By any other name the 
picture would have produced an impression equally 
forcible ; so strongly is love characterized by this 
two figures — love, indeed, of that kind which de- 
scribes in the line — 

“ Aindr condusse n<5i ad una morte.” 

The female is especially beautiful — beautiful not 
only in form and expression ; the figure is painted 
with exceeding grace and power : there are few 
more admirable works in the Gallery. 

No. 260. Portrait of a Gentleman as a Pilgrim,’ 

H. W. Pickersgill, R.A. Much good painting 



124 


THE ART-UNION 


thrown away. The. whimsical costume — so ill in 
harmony with the countenance— wa3 no doubt the 
choice of the “ sitter" and not of the artist. The 
44 gentleman" cuts a very ridiculous figure. 

No. 261. 4 Portrait of the Rev. George Stanley 
Faber, B.D./ T. Phillips, R.A. Painted with 
all the truth and brilliancy of this gentleman’s 
stvle. 

“No. 262. 1 Dort/ Sir A. W. Callcott, R.A. 
Surely this is beating Albert Cuyp on his own 
ground ; there is the same spire and other lofty ob- 
jects in the distance ; and — not the same cows, 
but their descendants fully as well-favoured as 
they— which Cuyp has painted twenty times in 
an atmosphere not so palpable as in this picture, 
which is in short a Callcott with figures, every 
whit as Dutch as even Cuyp made his, and without 
any balancing between Dutch nature and human 
nature. 

No. 264. 4 On the Scheldt looking toward Ant- 
werp/ H. Lancaster. This view seems to be 
on the Flushing side of Antwerp, though we do not 
remember anything like it in that direction, save 
always the lofty flecke of the cathedral. The pic- 
ture is, however, full of matter, free, airy, and ge- 
nerally well painted. 

No. 267.. ‘ Charles the First receiving instruction 
in Drawing from Rubens/ S. West. There are 
manifestations of considerable talent in this pic- 
ture ; it is a good composition, carefully drawn, 
and skilfully coloured. The expression does not 
please us ; Charles is made to look too finnikin ; 
and the great painter does not resemble either of 
his well-known portraits. 

No.268. ‘TheReverie ofAlnaschar/T.BRiGSTOK. 
A capital reading of the famous old story— a story 
that has been read a lesson to many a castle builder. 
With the name of the artist we are not familiar, 
hut he has here given evidence of ability, from 
which we feel justified in expecting great things 
hereafter. The subject is admirably imagined ; 
we have rarely seen the sentiment of disdain 
so cleverly depicted; it is strongly expressed 
in the countenance, and every muscle and motion 
of the body seems to sympathize with the feeling. 
The drawing, too, is unexceptionable. The picture 
is sadly prejudiced by being hung so high ; it is 
most skilfully fore-shortened, and this effect is 
completely destroyed. 

No. 273. * The Return of the Knight.* D. Ma- 
CLISE, R.A. One of the most beautiful we have 
ever seen of the minor works of this artist. The 
Knight is returned, he is yet in full panoply, and 
his lady eagerly assists him to unbuckle his har- 
ness— the work, by the way, of his squire and 
pages — but she cannot wait for them, and the 
helmet of course is the first to be doffed. It is a 
charming picture, and in every way worthy of its 
author. 

No. 274. 4 Evening in the Downs.* W. A. 
Knell. The effect of this picture is admirable, 
but it wants breadth. A dismasted hull is la- 
bouring on the heaving sea, which is over canopied 
by a sky charged with a coming storm. In the 
west the sun is gone down behind a curtain of red 
and threatening clouds, in contrast to which the 
gloom of the swelling waters presents a powerful 
effect. 

No. 278. 4 The Departure of Charles II. from 
Bentley, in Staffordshire, the house of Colonel 
Lane/ C. Landseer, A.R.A. ‘ The Departure' is 
gracefully pictured ; but even with a tolerably correct 
impression of the adult features of him who grew 
into the “ Old Rowley" of after years, it might be 
difficult to make out the Charles of the party. In 
this style of painting success will most frequently 
attend the labours of this artist, whose descrip- 
tions, with such materials, are always extremely 
forcible. This is certainly a clever composition, 
and some parts of it are admirably painted ; yet it 
can scarcely be characterized as a decided improve- 
ment upon former productions. 

No. 279. 4 The Money-lender/ R. M'Innes. 
A jaunty cavalier is negotiating a loan with a 
usurer, whose abode is furnished with all ap- 
pliances becoming his calling. The borrower 
is a roister, somewhat of a braggart, and little 
of a gentleman; his old age will be a “ latter 
summer," without a Sun to mature the fruits of 
early experience. The expression thrown into the 
countenance of each party of the group is admi- 
rable; fully bearing out the story, with its impres- 
sive moral. It is excellently drawn, and all the 
I minor parts are carefully finished. The wrork 


altogether is one of a high class, and may be quoted 
as an example in support of the opinion, that the 
English school is advancing. 

No. 285. 4 Portrait of William Coningham, 
Esq./ J. Linnell. An excellent work, full of 
life and character ; but the general tone of the pic- 
ture is too flat. 

No. 288. 4 Highland Scenery — a Snow-storm 
passing off/ F. R. Lee, R.A. This gentleman is 
most happy in the selection of his subjects, since all 
the localities themselves which he presents us must 
in nature be remarkable. His picture is the song 
of a Bairdh, who sings of the snow-drift mantling 
on the hill, and the shadow of the storm demon 
darkening the earth. 

No. 295. 4 An Italian Widow selling all her 
Trinkets to a Jew, except her Husband’s Picture/ 
J. Severn. An effect, and a carefully studied one. 
The heads are most forcibly painted, but the artist 
has communed much with the spirit of the earlier 
masters. 44 So much the better,” some will say. 
There is great force and vigour in the painting ; m 
the arrangement of the group, a display of judgment 
and taste ; a nice feeling in the expression given 
to the leading figure ; and the picture is wrought 
with well applied and well sustained labour. 

No. 298. 4 Portrait of F. Twynam, Esq./ G. 
P. Green. The pose of the jigure is extremely 
easy, and the portrait is generally well painted. 

No. 300. 4 Portrait of Charles Hampden Turner, 
Esq./ Sir M. A. Shee, P.R.A. A work dis- 
tinguished by the solid and rich impasto of the 
manner of the president. The heads painted by 
this gentleman are such as must give pleasure to 
all spectators when closely inspected ; they are 
careful, firm, and transparent, and they acquire 
force by distance. 

No. 301. 4 Hagar/ A. Geddes, A.R.A. A 
finely wrought and deeply touching picture ; full 
of interest in subject, and evidencing great power 
in Art. 

No. 302. 4 From the Play of Edward VI.,' E. 
M. Ward. A capital work ; abundant in inter- 
est, and in skilful 44 workmanship." The point 
represented is that in which, in the presence of 
the Duke of Gloucester, the Beadle performs a 
miracle by making the pretended lame to leap. 
The picture is full of matter ; the treatment of the 
subject is faithful and judicious, and has been 
wrought with very considerable ability. 

No. 308. 4 Portrait of Admiral Napier/ J. 
Simpson. An excellent likeness, and a re- 
markably well-painted portrait ; for which the 
gallant sailor owes the artist much ; for while he 
has preserved the resemblance accurately, he 
has not — as some other aitists have done— la- 
boured to make the brave original as great a bug- 
bear to his friends as he has been to his enemies. 

No. 313. 4 Pozzuoli, looking towards Baice — 
Istria in the distance/ C. Stanfield, R.A. 
Here we look again upon the water cleared and 
deepened by the treatment of the near objects. 
The distance is most skilfully thrown off by the 
force of the buildings, and some tall pines which 
rear their dark crests sky-ward, throw a valuable 
shadow on the foreground, on the left of which 
some peasants are addressing prayers to the Virgin 
or a saint. 

No. 314. 4 A Pause ! Two Portraits/ E. U. 
Eddis. This is a method of circumstancing por- 
traits of which we would willingly see more. The 
work is interesting to others bevond the circle of 
friends to whom the ladies may be known, because 
in it there is more of picture than of portrait. It 
is, indeed, a graceful and beautiful production, 
possessing high value apart from consideration of 
the mere fact that it is a portraiture. It would 
be a welcome acquisition to all who love Art, and 
know nothing of the fair maidens who sat to die 
painter. 

No. 315. 4 Samuel relating his Dream to Eli/ 
J. H. Wheelwright. In the general effect 
there is much grandeur, which would have been 
well sustained by more breadth of manner. The 
head of Samuel is too English, but that of Eli is 
as good as many of those which in celebrated pic- 
tures are the cynosures of the eyes of all specta- 
tors, because they are associated with great names. 

No. 321. 4 Admonition/ F. Stone. In all ex- 
hibitions there arc pictures which are never for- 
gotten — which we can, at any moment, call up 
amid recollections of thousands which we have 
learned by heart, yet which have no place in the 
’ heart. Of such memorable compositions this 


[Junk, 


will be one — it consists simply of two figures, an 
elder and a younger sister, the latter of whom has 
received a love-letter, and is listening with down- 
cast eyes to a lecture from the other on the im- 
propriety of encouraging the addresses of the 
writer. The incident is so common in nature :ind I 
in Art, that nothing but powers of the highest order j 
could bring it forward in a manner so touching. I 
These high powers have been exercised with ad- 
mirable effect. Mr. Stone has been gradually ad- 
vancing towards a foremost position in Art ; if he 
has not yet quite reached, he is very near, it: 
another step or two forward and it is gained. And 
when he has gained, there will be no fear of his 
losing it; for he evidently trusts nothing to 
chance, and owes even more to persevering in- 
dustry and resolute application than he does to 
genius. He is right. A lucky hit may be made 
in a moment of inspiration ; but fame can be sus- 
tained only by a resolution not to risk failure at 
any time. 

No. 322. 4 The Spurn Lights at the Mouth of the 
Humber/ J. Wilson. The 44 lights" form but; an 
insignificant feature of this picture, the main object 
of which is a little vessel standing in for the Itar- 
bour, and bidding fair to outsail the storm-cloud 
that overhangs her wake. This is a picture into 
which the sea birds would long to dip their wings. 

No. 325. 4 An English Servant attacked by Rob- 
bers/ E. V. Rippingille. This incident, we are 
told, occurred near Rome ; and the desperadoes are 
portraits of the famous Gasparone, and one of his 
gang. The manner of this work exhibits evidence 
of the study of early works of the Italian schools. 

No. 328. 4 An intercepted Raid — Ettrick Shep- 
herds/ T. S. Cooper. This picture carries us 
back at once to the flourishing days of black mail 
— of the legitimate raids of the border rievers — 
when every man’s house was his castle, and his 
best friends, in the day of trial, his jack and his 
good sword. The cattle are painted with Mr. 
Cooper’s usual excellence ; and the subject is of a 
more stirring character than many of those we 
have of late seen from his pencil. 

No. 336. 4 Portrait of a Lady/ A. Fraser. A 
fine taste pervades this work ; the background is 
rich and deep ; and the figure comes forth rather 
a living presence than a painted form. 

No. 338 . 4 Peace— Burial at Sea/ J.M.W.Tur- 
ner, R A. In substance, this picture is ouly a 
steamboat temporarily at rest on the broad bosom 
of the silent waters. The effect is a moonlight; 
and the time may be midnight, or any other time 
after night fall ; as to the 44 burial at sea," the spec- 
tator must imagine that— there is a light at the side 
of the vessel, but the matter and the manner are 
sufficiently indistinct, and 44 Turner-like.’* There | 
is but little colour ; in fact, much of the can- 
vass is covered with a mere modification of 
white and black, thrown on in seeming mock- 
ery of every thing like design. On the paddle- 1 
box. of the steamer is visible the word 44 Oriental" i 
— we may therefore conclude that the 44 burial" I 
is that of Sir David Wilkie. The steam -boat, 
which on close inspection seems so loosely put in, I 
appears at a distance round, and somewhat real. I 
Still it is very provoking to see genius so misap- ' 
plied. The strength of a great ana original mind is 
visible, undoubtedly; but the mass of spectators i 
w ould receive just as much enjoyment if the pic- [ 
ture were turned upside down ; and perhaps even 
then the judicious might perceive as abundant 
evidence of power gone mad. If Mr. Turner were 
to frame his palette, by way of an experiment, and 
send it to the Academy, working up with his finger j 
a corner of it into something like form, it would , 
be almost as valuable, nearly as intelligible, and 
quite as remarkable as this 44 picture." 

No. 347. 4 Kitchen of the Inn at Amalfi/ C. , 
Stanfield. This kitchen would be open to the j 
sky but for the partial covering afforded by an i 
arch ; and even upon one side it is walled in by the | 
bare rock which rises out of the picture. The < 
buildings, &c., are painted in a firm and substan- j 
tial manner; the work is worthy of the artist, 
although a novelty. { 

No. 348. 4 Landscape/ H. Jutscm. The pro- ! 
ductions of this artist are always fresh and bcautifiil ; 
they are constituted, as are those of so many of our 
artists, merely of trees, often with the addition of I 
water ; and this is, perhaps, the best that has ever l 
I come from his easel. His touch is free and de- j 
cided, but entirely guided by the nature of the 
| object under his hand. These trees are rich in 


1842 .] 


THE ART-UNION 


125 


i 


colour and leafy in character ; and laid in with a 
peculiar method of pencilling which we have no 
desire to see changed. 

No. 352. ‘ Market Girl/ P. F. Poole. She 
bears on her head a basket of fowls ; one of the 
simple subjects, in the execution of which this 
artist shows the most refined feeling. The figure 
is most effectively painted ; she leaves the canvass 
behind her. 

No. 353. * War— the Exile and the Rock Lim- 
pet/ J. M. W. Turner, R.A. Napoleon apos- 
trophizing a rock limpet. An extravagant picture, 
in which there may be much meaning, but it does 
not appear. 

No. 361. * Portrait of a Florentine Lady/ R. 
Roth well. The countenance of this figure will 
remind the spectator of many of this gentleman's 
heads ; the eyes are piercing to a degree, and the 
movement is light and graceful. 

No. 363. * The Microscope/ G. Lance. The 
unexampled patience with which this picture has 
been elaborated, is approached by nothing save the 
veriest niceties of the Dutch school. The compo- 
sition consists of one figure, having before him 
“ the microscope/' painted with the most curious 
accuracy ; there is also some tapestry on the left 
of the figure, the threads of wnich may be ex- 
amined by the aid of the microscope itself. 

No. 367. 4 The Locks at Windsor/ F. W. 
Watts. Often as these have been painted we 
have rarely seen them better described than here, 
though a little more breadth in the foliage would 
have improved the picture. 

No. 368. ‘ Desolation/ F. R. Lee, R.A. We 
need not the title to tell us that this is the haunt of 
the wolf and the vulture ; the place seems cursed ; 
and the now unhallowed soil refuses support even 
to the trees which, in happier times, nourished 
there. This picture may be a composition, but the 
parts are adapted in the closest adherence to natu- 
ral facts. 

No. 369. * Virginia discovered by the Old Man 
and Domingo/ H. J. Townsend. A work of 
great merit as regards either the conception or the 
execution. At first sight, it seemed painted under 
an erroneous impression that the subject was one 
for an elevated, rather than a touching, sentiment, 
and that an attempt had been made to invest the 
picture with an heroic interest which it could not 
sustain. As we look closer, however, this feeling 
diminishes ; and we perceive a happy blending of 
the grand with the pathetic. The energy of grief 
in the negro is natural and in no way exaggerated ; 
that of the old man is more repressed but equally 
true; while the dead Virginia is a fine conception, 
most skilfully rendered. A great and yet a re- 
fined purpose is apparent in the work ; the sad in- 
cident is related in the most impressive manner ; 
the picture will retain a firm hold on the memory 
of the spectator— and this, after all, is a strong 
test of its merit. 

No. 370. * Percy Bay, Northumberland/ T. 
M. Richardson, sen. A right good picture ; the 
production of a landscape-painter of established 
reputation ; and although that reputation is 
“only" provincial, he is not encountered at dis- 
advantage in any gallery of British Art. 

No. 375. ‘The Holy Family reposing during 
the Flight to Egypt/ F. Dan by, A. R.A. We are 
strongly reminded by this work of many of the 
pictures of Gaspar Poussin — the shadow is equally 
deep and parts are made out with the firm and 
decided touch of Mr. Danby’s earlier works. This 
production must have been the result of a devout 
resolution to keep all in shadow as much as possi- 
ble— the time is daybreak, but this uniform pur- 
pose is by no means disturbed by the dawn. 

No. 376. ‘ Una and the Lion/ H. Lb Jeune. 
The lion crouches at the feet of Una — 

“ His bloody rage asswayed with remorse.” 

And the realization of this passage evinces the 
finest feeling for the poetry of Spencer. We find 
here none of those palpable diversions which ener- 
vate so many works of this kind ; but the artist 
takes at once high ground, and we do not see that 
he has mistaken his position. Let him keep it, 
steadily, and it may be proudly too, in the teeth 
of some discouragement. He will be a great man 
yet. 

No. 377. * The very Picture of Idleness/ R. 
Roth well. A gay and laughing maiden with an | 
expression of countenance w hich the pencil of this . 
gentleman seems to reach better than that of any 
of his cotemporaries. The face beckons you with 


its laughing eyes— everything is resolved into in- I 
viting sweetness, in short she is 1 

” Not very dashing, but extremely winning.” 

No. 379. ‘ II Voto, or the Convalescent/ P. 
Williams. This is a 44 voto sciolto," the fulfil- 
ment of a vow made to the virgin during sickness, 
on which occasion the Convalescent comes to the 
shrine of the “ Madonna della Salute," attended 
by her family and friends. The principal figure — 
a young girl— -yet pallid from recent suffering, is 
mounted on an ass, and habited in black, according 
to the custom of tne ceremony. Her now useless 
crutches are carried by her mother, and her friends 
are the bearers of small offerings in gratitude for 
her recovery. The general execution of the picture 
is that of a master mind moving at will a hand 
which, like the wonderful lamp of the Eastern tale, 
realizes the conceptions of the dominant power. In 
all respects, it is a work of the very highest class ; 
beautiful and accurate in conception, and almost 
perfect in execution. A more faultless perform- 
ance has never been sent to us from Italy — the 
production of an English artist. In expression it 
is exquisitely fine ; every member of a numerous 
group contributes to the deep and touching inte- 
rest of the whole design ; examine as closely as we 
may, we can find nothing to object to. It is a vo- 
lume in a single passage ; taken altogether it may 
be pronounced the gem of the exhibition ; at least, 
the gallery contains*io work, not by a veteran in 
Art, of such surpassing excellence. 

No. 380. ‘ Portrait of Mrs. Warburton/ B. R. 
Faulkner. A fine daylight effect distinguishes 
this work — some of the rarest points of female por- 
traiture are abundant in it. 

No. 387. ‘ A Scene at Aberystwith, Cardigan 
Bay, with Portraits of the Three Children of Ed- 
mund Antrobus, Esq./ W. Collins, R.A. To 
deal with materials so simple as those constituting 
this “ scene" — and to invest them with interest, 
displays a power with which few are gifted. The 
view comprehends a considerable extent of sea- 
shore — the life of the picture being several chil- 
dren in the foreground with precisely such beads 
as Reynolds would have delighted in painting. 
This is a method of treating the portraits of chil- 
dren, which succeeds beyond all others. 

WEST ROOM. 

No. 389. ‘ Margaret alone at the Spinning-wheel/ 

P. F. Poole. Margaret is here lamenting the ab- 
sence of Faust. The words are, if our memory 
serve us, — 

“ Meine Ruh* ist bin, 

Mrin Hertz ist schwer; 
lch finde sie nimmer 
Unci nimmer mehr.” 

Now, in the spirit of these lines there is a senti- 
ment so deep that it had better not have been dis- 
turbed by the stream of light which is thrown into 
the room from I he window ; but for this a broken 
heart could never touch us more than it docs from 
the canvass. It is most unfortunately hung, al- 
though but a small picture. The artist is rapidly 
making his way to fame, and will, ere long, rise 
higher in one sense and descend lower in another. 

No. 391. ‘ Nostradamus predicting the future 
Fate of Mary Queen of Scots/ J. E. Casky. The 
Nostradamus of this composition is well conceived 
and ably executed. The same amount of care ex- 
ercised upon a more manageable subject would 
produce a work incalculably superior to this. 

No. 395. * Flight into Egypt/ J. Martin. It 
is scarcely necessary to allude to the effect or pe- 
riod of the day signified in this work, or the man- 
ner of its signification, remembering the words — 
“He took the young child and his mother by 
night, and departed into Egypt." The scene is 
one of rocks and barrenness, unlike the prolific 
land whence, according to the Turkish tradition, 
Mahomet had fruits sent from heaven. This, how- 
ever, aids the loneliness of the pilgrims, who move 
along a winding path enveloped in the shadow 
which is cast over the entire composition. The 
figures are unaccountably large, considering their 
osition in the picture ; but of this we can scarcely 
elieve the accomplished author to have been un- 
aware. The lofty and rugged mountain, one of the 
granite bores of the earth, tells severely agamst the 
lighter sky, with a colour uncompromisingly blue ; 
we see too much of it, but the effect is neverthe- 
less fraught with grandeur, and the chill night air 
comes off the canvass strongly enough, without 
other evidence to convince us that the scene is yet 
presided over by Hesperus aud a bright society of 


dew-distilling stars. The work is marked by all 
the care of other latter pictures of the artist ; a fact 
which it is gratifying to observe. 

No. 402. 4 The Lady Caroline Duncorobe and 
the Ladv Elizabeth Campbell, daughters of Earl 
Cawdor, Mrs. J. Robertson. Two miniature 
full length figures, painted with a refinement of 
taste unequalled in this now rare style of Art. 

No. 40$. 4 The Daughters of the Count de Fla* 
hafilt/ a similar work, containing three figures, is 
ainted by the same lady, in a manner equally 
eautiful. 

No. 404. 4 Edward the Black Prince thanking 
Lord James Audley for his gallantry at the Battle 
of Poictiers," B. K. Haydon. Mr. Haydon has 
at least no ground to complain of injustice on the 
art of the Royal Academy. They have placed 
im where he may, at all events, speak for himself. 
Was there not some sly malice in this ? for they 
have permitted him to pass his own sentence upon 
himself. Who will hereafter marvel at his exclu- 
sion from Academic rank ? 

No. 406. 4 Thetis bathing Achilles in the Styx/ 
W. Carpenter, iun. This picture seems to he 
judiciously painted— all that we can say about it 
from its being so high ; it is one, however, which, 
although so placed, attracts the eye, and we think 
might have hung lower. 

No. 410. 4 The Two Children/ Fanny M 4 Ian. 
Gallantry, if not justice, might have found a wor- 
thier place for this small picture. The lady-artist 
had a right to it, not because she is almost the 
only one of her sex who essays loftier subjects in 
Art, but because her merits entitle her to a post of 
honour in any exhibition. It is impossible to 
judge of the ability displayed in the execution of 
this work ; that it is not unworthy of her accom- 
plished mind, and powerful as well as graceful 
pencil, we cannot entertain a doubt; because we 
may not believe that she would be so regardless of 
her own fame, and so indifferent to the judgmeht 
of the Royal Academy, as to send to the gallery a 
production inferior to many she has already pro- 
duced, and which have invariably found pur- 
chasers as well as admirers. We can see, however, 
enough of 4 The Two Children ' to know that it is 
a beautiful design, skilfully, happily, and naturally 
placed upon the canvass ; that it illustrates inte- 
resting passages in human life; and that it is 
altogether, in conception and in finish, a work of 
high order. 

No. 425. 4 Portraits of Lieutenant Colonel 
Thomas Wood, M.P., Captain David Wood, 
Royal Horse Artillery, and Captain Robert 
Blucher Wood, 10th Hussars/ J. Lilley. A 
triad of full-length portraits brilliantly made out — 
there is, perhaps, some slight want of relation 
between the figures, which play rather to the spec- 
tator than to each other ; yet it is altogether one of 
the most meritorious performances of its class we 
have for some time seen. The colouring is gene- 
rous and ably distributed. 

No. 427. 4 Moses going to sell the Colt at the 
Fair/ vide 44 Vicar ofWakefield," C. Ston house. 
One or two happily illustrated passages from a 
known book are sure to be followed by an almost 
interminable series from the same source. One 
Sir Roger de Coverley is productive of a score, as 
is also a good Oliver Cromwell or Robinson 
Crusoe. They do not follow in units, but in higher 
powers of numeration— they grow like the armed 
men of Cadmus, and have precisely the same fate — 
that is, they destroy each other. The bulk of 
artists do not think enough for themselves, con- 
sequently those who do, the pioneers of the pro- 
fession, become, each of them, an involuntary dm r 
gregis. The present subject has often of late been 
painted ; our remarks are not intended for any 
individual, but apply to a large class of our painters. 
It is, as are all the works of this artist, decidedly good. 

No. 428. 4 The Origin of the Harp/ D. 
Maclise, R.A. Conceived in the purest senti- 
ment of poetry. The subject is from Moore's 
Irish Melodies, and is brought with the very best 
attributes of Art and without any of its trick. The 
lines whence we have this beautiful picture, result- 
ing from the conjunction of the twin stars, Moore 
and Maclise, are — 

44 Still her bosom was fair— still her cheek smiled the 
same. 

While her sea-beauties gracefully curl round the 
frame; 

And her hair, shedding tear-drops from all its 
bright rings. 

Fell over her white arms to make the gold strings.'* 


Digitized by 


,OOgl 




THE ART-UNION. 


[June, 


This picture must be seen to be understood and 
felt ; any prosaic description would be a profana- 
tion, from which we shrink with becoming reverence. 

No. 429. ‘Whitby Pier, Coast of Yorkshire/ 
A. Clint. A beautiful version of sea-side nature, 
though not so brilliant as many similar scenes we 
have noticed by the same hand. 

No. 430. * Interior of a Temple inhabited by 
Arabs, who sell the curiosities found in the Tombs, 
Thebes, Egypt/ W. Muller. This admirable 
work is laid in with a decision and solidity which 
characterize this gentleman’s works generally, and 
whenoe they derive so much of their value. The 
tones of the picture are kept down, and the place 
seems to be drawn precisely as it is — a feeling we 
could wish more extended. The huge pillars have 
coloured capitals, and every plain space is covered 
with hieroglyphics. 

No. 431. 4 The Sanctuary/ E. Landseer, R.A. 

“ Loch Maree, a poem, 1842/* affords the sub- 
ject for this production, which illustrates the 
power of a great mind over the simplest materials 
m composition. The immediate objects are, a 
stag ana a flock of wild ducks that he has scared 
from their retreat ; but the poetry of the whole is 
such as never can be excelled in Art. The scene 
is in the Highlands, and the eye of the spectator is 
carried across a broad expanse of lake, on the op- 
posite shore of which the rising backs of the hills 
come out in shadow against the subdued light, for 
the sun is behind the ridge. To escape his pur- 
suers the flying stag has taken the water, and has 
just gained footing after a long swim in “ the 
Sanctuary/’ an island in the lake. 

“ How blest the shelter of that island shore I 
There whilst he sobs, his panting heart to rest, 

Nor hound nor hunter shall his lair molest.” 

The waters of the lake are perfectly at rest, so that 
we can mark the course of the “ wearied swim- 
mer,” by his wake, which is yet distinct on the 
surface : and the solitude and security of the sanc- 
tuary is most powerfully illustrated by the alarm 
of the wild fowl, which have risen from their 
shelter, and direct their flight to the main land. 
This is the last (as numbered) of the pictures ex- 
hibited this year by Edwin Landseer, whom we, 
for ourselves, thus thank aloud, as others will do 
in their hearts — curet ut valeat — that is, may his 
shadow never grow less. 

No. 433. 4 Portrait of a Lady/ T. F. Dicxsek. 
Parts of this picture are equal to anything that 
colour is capable of effecting. The satin dress is 
represented with the most singular tiuth ; but 
other portions of the work are not comparable to 
this. 

No. 436. 4 The Death of Sir W. Lambton at the 
Battle of Marston Moor/ R. Anrdell. The 
cavalier is extended in death, while his horse, hav- 
ing been shot by a wounded trooper, is rear- 
ing with the agony of the wound. This is a large 
picture for such a subject, which certainly would 
have been advantaged on a much smaller canvass ; 
the design, however, is admirably conceived and 
vividly executed. The name of tne artist is new 
to the exhibition ; but it is unquestionably des- 
tined to be famous hereafter. 

No. 439. 4 Bad News from Sea/ R. Redgrave, 
A. A picture of a sailor’s home, which is about 
to become a house of mourning, the wife of the 
absent mariner having received a letter with a 
black seal which rfhe hesitates to open. The 
sudden revulsion of feeling depicted in the coun- 
tenance of the wife on discovering the black seal 
is described with the utmost natural truth. 

No. 443. 4 Rivals/ J. G. Middleton. This 
is a portrait of a little girl, carefully drawn, and 
well coloured. The 4 Rivals’ are her bird and 
dog— the latter of whom solicits a share of the at- 
tention she bestows upon the former. It is one of 
the sweetest and most graceful compositions in the 
gallery ; and is admirably finished. 

No. 449. 4 Portrait of Lady Baring/ J. Lin- 
nell. Nothing can exceed the simplicity and un- 
affectedness of this portait, which is a small full- 
length ; but the strong yellow glaze which has 
been thrown over the face is objectionable. 

No. 451. 4 A Great Sinner/ Biard. This is a 
contribution of a French artist to the British Royal 
Academy, undone for which we can .-carcely thank 
him ; for although exceedingly clever, the subject 
is “ nasty and affords a striking contrast to his 
picture of 4 The Slave Dealer.’ 

No. 454. 4 A Scene from the Vicar of Wake- 
field/ W. P. Frith. The 44 scene” is that pas- 


sage of the novel, where Mrs. Primrose, telling 
the Squire that he and Olivia are about the same 
height, causes them to stand up 44 to see which is 
the tallest.” The two are accordingly erect, and 
do8-a~do8 y while the good lady claims the atten- 
tion of the Vicar to the measurement. The main 
characters of Goldsmith’s novel are here charm- 
ingly portrayed, and nothing strikes the eye of the 
spectator so forcibly as the generic difference be- 
tween the Squire — the destroyer — and every mem- 
ber of the family by whom he is surrounded. He 
is the pronounced man of pleasure— he has an eye 
of reckless sensuality — and a person and manner 
to captivate one so simple as the Olivia of this 
picture — 44 Our Olivia.” The Vicar is all benevo- 
lence ; Dame Primrose all business and match- 
making ; and the younger branches precisely what 
they should be. The author of this work studies 
profitably the characters he transfers to canvass. 
He is not a mere picture-maker ; but thinks, and 
thinks long and deeply over what he does. His 
abilities to execute are not inferior to his powers to 
conceive. He is acquainted, and that intimately, 
with the capabilities of Art. His style may bear 
somewhat more of vigour and less of delicacy ; and 
will no doubt have it ere long ; but it is exceedingly 
effective, and cannot fail of being appreciated 
by 44 the mass,” while it will as certainly satisfy 
44 the critic.” Mr. Frith is— and this we have long 
foreseen — a candidate for professional distinction : 
and one who will be sure to have his claims allowed.* 

drawings and miniatures. 

558. 4 Sir F. Chantrey when a boy/ H. P. 
Parker. The immediate subject of the picture 
is the story which appeared in the Sheffield Mer- 
cury about the first money earned by Chantrey. 
He is here represented going to Sheffield with his 
milk, and carving with his knife the head of 4 Old 
Fox the Schoolmaster.’ The picture is painted 
in a clear and effective manner ; but it would 
answer equally well for any boy with a donkey. 

No. 563. 4 Portrait of James Rennell Rodd, 
Esq. — enamel from life/ H. P. Bone. An ex- 
ample of some of the best properties of the process 
of enamelling. The colouring generally is rich, 
and the shadows are deep and transparent, but the 
features are lethargic. 

No. 587. 4 Portraits of Lady Hawley and her 
Infant Daughter.' J. Haytkr. One of the well- 
known chalk sketches of this artist. The heads are 
finely rounded without being conspicuously elabo- 
rate, and the feeling thrown into that of the mother 
is of the most refined description. 

No. 611. 4 Les Arbres ontdes Oreilles/ G. H. 
Harrison. A water-colour drawing, with much 
power of description and decision of execution. It 
is surrounded by a garland of flowers, which give 
an undue insignificance to that intended as the 
principal work. They are, however, beautifully 
and most skilfully wrought. 

No. 610. 4 Children of Elhanan Bicknell, Esq., 
S. P. Denning. An interesting group, ad- 
mirably drawn ; the drawing being finished carefully 
and skilfully ; the whole being obviously the work 
of an accomplished master. 

No. 615. 4 La Blonde.’ W. Patten. Very 
graceful and very sweet; a most fortunate ori- 
ginal, the value of which the artist seems to have 
duly appreciated. 

No. 625. 4 Portrait of a Lady/ T. Crane. 
The figure, which is a full length, is graceful, and 
parts of the attire, such as the velvet, &c., are ad- 
mirably described. 

No. 638. 4 Portrait of a Lady in an Old English 
Dress.’ Miss Augusta Cole. An exceedingly 
clever drawing, gracefully composed, and coloured 
with spirit and delicacy, 

No. 670. ‘ Portrait of a Gentleman/ A. Chis- 
holm. The effect of this head is an ample com- 
pensation for the manner in which it has been 
wrought out. 

No. 694. 4 Portrait of Mdlle. Celeste in the 
character of Narranattah / Ellen Drummond. 
A boldly drawn portrait, supplying an excellent 
I idea of the subject. 

No. 708. 4 Madlle. Rachel, role de Camille dans 
les Horaces/ A. E. Chalon, R.A. There is in 

1 * Notvwtli.stamlinjr our nn.vefy to review the whole of 

the exhibition in this number,* we have found it im- 
f O'Mtile to < o *o: and must, therefoie, postpone the 

{ mliliejition of the nmaumer until next month. Mo 
lave compete! it we should either have entirely de- 
fctioycu i he “ variety” of our journal, or have ie»t many 
good works unnoticed. 


this portrait less of dramatic action than is seen in 
those generally by the same hand. In this the 
sketch is superior to others of Mr. Chalon’s thea- 
trical portraits ; but we cannot identify Rachel in 
the face, which is too round. As a drawing it is of 
the very highest character ; a work absolutely \ 
grand. , 

No. 714. 4 Sketch of a Turkish Letter Writer/ 1 
the late Sir David Wilkie, R.A. Parts of this 
are extremely slight, although distinct and well 
defined ; it Beems to have been the original sketch 
for the oil picture recently sold by Messrs. Christie 
and Manson. The subject is the dictation of a 
letter by a lady to one of the public scribes of Con- 
stantinople. The head of the writer has been stu- 
died in a manner such as to show at once the inten- 
tion of paintingfrom it. 

No. 715. 4 Portrait of Mrs. Charles Kean/ 

A. E. Chalon, R.A. A most beautiful work, 
full of the higher qualities of the Art ; a great ex- 
ample of the effect that may be produced by a pic- 
ture of a single figure. 

No. 722. ‘Portrait of his Grace the Duke of 
Wellington/ S. Diez. A positive libel ; the great 
captain converted into an old village schoolmaster. 
There are several other miniature drawings by this 
artist — of sundry royal personages— all intolerably 
bad. 

No. 730. 4 The Hon. Charles Mount Edge- 
cumbe/ C. Brocky. A chalk drawing on co- 
loured paper of a child’s head ; most skilfully in- 
vested with the winning graces of infantile cha- 
racter. 

No. 743 and No. 813. 44 Portraits of Gentle- 
men,” by J. S. Templeton, are miniatures of 
high character ; delicately pencilled, yet manifest- 
ing no inconsiderable vigour. They arc conspicu- 
ous for a wavy style in design, and for careful 
finish in execution ; and are behind few in some 
of the best qualities of the art. 

No. 763. 4 Portrait of Mrs. Luigi Sagrini/ W. 
Booth. Without great mastery in composition, 
a striking brilliancy has been communicated to 
this miniature ; it is in every part highly wrought, 
and the objects and materials are clearly defined. 

No. 768. 4 A Young Lady/ A. Robertson. 
About this miniature there is all the richness and 
feeling of oil, with all the niceties of water-colour. 

No. 769. 4 W. Stirling, Esq./ A. Robertson. 
Our remark on the preceding number will also 
apply to this ; the head, however, is better re- 
lieved, and has, in respect of the background, been 
painted with the consideration due to a life-sized 
portrait. 

No. 774. 4 Portrait of Lord Walter Butler/ Sir 
W. J. Newton. This miniature is made out in 
the usual method of Sir W. Newton’s male por- 
traits. The background quiet, but transparent, 
throws out successfully the head, the flesh colour 
of which is florid, but iife-like. 

No. 778. 4 Portrait of Major Wavmouth/ T. 
Carrick. We find in the works of this artist a 
new and original style of miniature painting, the 
value of which does not lie in what is understood 
by 44 finish,” although the finish of his miniatures 
is equal to the most tedious elaboration. The force 
of his work consists in their luminous breadth ; and 
the clear definition and prominency of their parts, 
without any cutting up or diminution of the main 
effects of the heads. Other miniatures by Mr. 
Carrick are — 799, 4 Portrait of the Earl of 
Shaftesbury 840, 4 Portrait of Lord John Rus- 
sell ;’ 846, 4 Portrait of P. C. French, Esq./ 8cc., 
all drawn with the most astonishing truth and 
effect. There is, however, a flatness of tone in the 
colouring, which it is to be hoped will be remedied. 
We are aware that this artist paints upon marble ; 
if this defect arise only from this basis, a remedy is 
at hand. From what we now see of this gentle- 
man’s works, we may safely predict that his name 
will be one of the most celebrated that has ever 
been known in miniature painting. 

No. 786. 4 The Arran— Fisherman’s drowned 
Child ;’ No. 897. 4 Connemara Girls on their way 
to Market/ F. W. Burton. These are large 
I drawings, of a high order of merit; the produc- 
; tions of the leading artist of the Royal Hibernian 
Academy. They are certainly not seen here as 
they were in Dublin last year, where we had the 
! good fortune to examine them under more favour- 
able circumstances. Yet even here, placed high 
up. and surrounded by small and highly -wrought 
miniatures, they will satisfy all who look closely 
into them that the pointer is a man of genius. In 


igitized ' 


1842 .] 


THE ART-UNION. 


it 


127 


▼igoar of execution, as well as in delicacy of touch, 
his merits are of a high order. These two works 
are full of matter, and of very touching in- 
I terest; the one telling a sad story with “ moving 
eloquence," the other picturing Irish character, 
with no less truth than poetry. We hope he has 
not made a voyage to London to 44 see how his 
pictures look he would return no doubt greatly 
disheartened, but perhaps somewhat instructed : 
for it is no very grand achievement to be great 
among little men ; and before Mr. Burton can take 
professional rank, he must be compared with others 
( who are, like him, candidates for aistinction. 
i No. 812. 4 The Lord Bishopof Hereford/ W. 
C. Ross, R.A. This striking resemblance to the 
right reverend prelate is the perfection of por- 
traiture. The work is somewhat large, and in- 
volves details which are made out with a fidelity 
that would astonish, had they been painted by 
any other hand than that of Mr. Ross. 

No. 816. ‘ Master York/ R. Thorburn. A 
foil length miniature of a child ; the head is suc- 
t cessfol in its expression, but colour and light are 
denied to the picture. 

No. 847. 4 Portrait of her Majesty the Queen/ 
W. C. Ross, A. This is one of the richest and 
most beautiful of the works of this artist. The 
felicity of the resemblance has never been exceeded, 
and the colour is that of the life. Her Majesty is 
seated in an ancient high-backed chair, with an 
ease and grace which must have been carefully 
studied in nature, to be so perfectly represented 
here. Other valuable portraits by Mr. Ross are, 
No. 857. 4 Her Majesty the Queen of the Bel- 
gians/ No. 861. 4 Mrs. Charles Kean/ and 
No. 886. 4 A foil length of Lady Norreys/ in all 
of which the materials of composition are painted 
with extraordinary truth. 

No. 917. 4 Lady Carmichael/ R. Thorburn. 
There is in this miniature an undue severity of 
style which cannot be understood by the many. 
There is a German taste about the work which, 
however well it may suit the highest walk of Art, 
will tell to disadvantage in a miniature. There is 
in the face a fine tone of sentiment, but the figure 
is otherwise heavy. 

No. 937. 4 Portrait of H. Roxby Benson, Esq., 
17th Lancers/ B. De la Cour. An officer in 
uniform, painted in a manner to concentrate the 
interest in the figure, which— a half- length— is well 
drawn and substantially made out. 

No. 943. 4 Portrait of Mrs. Ibbotson/ Miss M. 
Gillies. A half-length with a countenance full 
of gentleness. The figure and materials are turned 
to the best account. 

No. 942. 4 Portrait of Captain the Hon John 
Vivian, M.P./ W. Egley. The author of this 
portrait perfectly understands that purity of tone 
may be destroyed by being over-wrought. The 
flesh tones are clear, and the portrait generally is 
effectively executed. 

No. 9o3. 4 Portrait of Miss Gray/ Miss M. 
Hucklrbridge. The pose is most natural, and 
J&e general disposition highly effective. There is, 
indeed, great evidence of very high ability in this 
production. 

No. 964. 4 A Portrait/ C. Cousens, A half- 
length of a young lady, painted with much force 
but wanting brilliancy; there is, however, a 
breadth of touch that we much admire. 

1 [We are compelled to 44 skip " over a great num- 
ber of excellent miniatures ; it is indeed utterly lm- 
| possible for us to find space for comments upon 
| more than a small portion of those that are de- 
cidedly good. The catalogue contains a list of 
works exhibited in this room, extending from No. 
557 to No. 988.] 

! In the 44 miniature-room " and in the room dedi- 

I cated to 44 architecture," visitors will find some 
! paintings of very great merit. We judge less from 
I the results of inspection than from the established 
j reputations of the artists — acquired elsewhere ; for 
! they are placed as near the ceiling as may be, in 
i wretched lights, and above hosts of works that 
I ill prepare the eye for an appreciation of their 
| merits. This is 44 too bad," — on a par with the 
system pursued by a certain small Society in the 
Immediate neighbourhood ; for there is no one of 
the exhibitors so placed who would not give more 
than the value of his picture, or rather the sum he 
once hoped to obtain for it — to be permitted to re- 
move it from the walls. It is an unequivocal 
sentence of excommunication ; a ban which points 


out the unhappy 44 sinner" as a reproach among 
his brethren ; a sort of hint to carry a hod rather 
than paint pictures. We cannot envy the feelings of 
the parties who preferred branding the painter, so 
that a very long time must elapse before the mark 
of shame can be effaced — to sending back his work, 
that it might be at least 44 hung at the place from 
whence it came." It would have been merciful, 
and comparatively generous, to have placed these 
works with the faces to the wall. 

It will scarcely be expected that we criticise pic- 
tures we cannot see ; but here is a list of those we 
know to be good — because we know that the respec- 
tive artists can paint well and have painted well — 
and cannot entertain a suspicion that they have 
sought to insult the Royal Academy, by sending to 
their exhibition productions that would discredit 
the producers ana the exhibitors of them. 

We earnestly hope the Academy will order this 
matter better hereafter ; and respectfully call 
upon them to enter the two rooms referred to ; 
and consider how many hearts have been made to 
ache and reputations to suffer, by a very unneces- 
sary act of cruelty — we can use no milder w ord. 

Thus circumstanced, for example, are two works 
of H. Jutsum— a vigorous landscape-painter, who 
might put to the blush some veterans in the Art, 
who 44 stand at ease" upon the line. 

Another by H. Montag ur— also an admirable 
landscape-painter, whose works would do credit to 
any exhibition. 

Two others by H. Gritten— scenes painted from 
continental cities ; where he has been travelling at 
great cost to gather knowledge and experience. 

A capital picture by 44 a stranger" in the exhibi- 
tion— we do not know his name, and probably it is 
a first appearance, or rather attempt to appear - 
we refer to a 4 Scene in North W’ales/ by D. H. 
M'Kewan ; evidently of a most meritorious class. 

H.J. Boddington is thus also doomed. Let the 
visitor who is here made sceptical as to his merits 
walk into Suffolk-street and see some admirable 
landscapes of his. 

G. E. H bring is another case in point. His 
works have been hung 44 on the line" for the last 
three years at the British Institution ; and, we be- 
lieve, were in every instance “ sold," as they ought 
to have been. 

And surely a painting of T. C. Hofland might 
have been subjected to more worthy treatment. 
No. 948 (he has sent but one), 4 Castellamare/ is 
worthy of an artist whose pencil is at all times pure, 
vigorous, and effective. 

Condemned equally is a beautiful moon-light 
picture by J. B. C rome, an artist who, in this pe- 
culiar class of Art, has few, if he have any, rivals. 

A. J. Woolmer — his works in the Gallery of 
British Artists have gained for him a high reputa- 
tion— here he is at the 44 tip-top" of the architec- 
ture rooms, literally above the roofs of a score of 
buildings. 

Here, too, is a sweet and touching picture by 
H. O’Neil. We answer for it that if a question as 
to its value were put to the vote, among the mem- 
bers of the Royal Academy, there would be a 
majority for hanging it on the line. 

Here, also, is a capital picture of 4 Don Quixote 
and Sancho/ by J. Gilbert, an artist who might 
even now be a candidate for the distinction implied 
by the two mystical letters R.A. 

W. Dendy — a name we have not, we believe, 
heretofore met with— contributes a work 4 In- 
fancy/ which seems entitled to a far different 
doom. 

It is scarcely necessary for us to say, that we 
make these observations with exceeding pain : first, 
because in doing so we are compelled to add to the 
evil by giving greater publicity to the opinions ap- 
parently entertained of these artists by the judges 
of their merits ; and, next, because we know how 
arduous, embarrassing, and distasteful the duties 
of the 44 hangers" must be ; and have no desire to 
make the labour still more distressing than it is, by 
harping upon the terms 44 partiality/ 44 injustice," 
and so forth. But, in the cases we have quoted, 
we can really see no excuse, unless the hangers had 
actually persuaded themselves that men such as 
those we have named would rather see their pic- 
tures hung anywhere than not hung al all. 

14 ’Tis villanous— pray you avoid it.” 

SCULPTURE. 

1267. 4 Marble Bust of her Majesty the Queen/ 
J. Francis. In the features of this bust of our 


Gracious Sovereign, there is much in common with 
those of the illustrious family whence she is de- 
scended ; but we find also somewhat of 44 anxiety," 
of which it would have been better to have re- 
lieved the countenance, substituting the character 
of benignity, which must be ever present in me- 
mory with all who have once seen her Majesty. . 

1268. 4 His Royal Highness Prince Albert/ R. 
W. Sibvibr. This is also a bust, and it is re- 
markable by much power of execution : the like- 
ness is striking, ana the work is, in all respects, 
characteristic of his Royal Highness. It is to be 
regretted that the marble has turned out so de- 
fective. 

1269. 4 Marble Group to be erected in St. 
George's Church, Madras/ H. Weekes. Two 
figures constitute the group— representing the 
Right Rev. Daniel Corrie, LL.D., imparting re- 
ligious instruction to an Indian youth. It is exe- 
cuted by public subscription to the memory of Dr. 
Corrie ; and, being in design w’ell conceived and 
most appropriate, cannot fail to enhance the so- 
lemnity of the interior of the edifice for which it 
is intended. The lawn sleeves of the principal 
figure are not well expressed, but a material more 
difficult to minister to in sculpture cannot well be 
imagined. The youth is finely modelled, but he 
is not of Indian mould, although distinguished by 
the lock of hair at the back of the head, whereby, 
according to the faith of his land, he is to be 
44 lifted up to heaven." 

1270. 4 The Broken Pitcher/ W. C. Mar- 
shall. The charm of this work is its simplicity. 
A child has broken a pitcher, and laments the 
consequences with tears. This little figure must 
attract its share of attention, for the incident is 
rendered so literally, as to be open at once to the 
plainest understandings. 

1271. 4 Model of a Nymph preparing to Bathe/ 
E. G. Physick. From the 44 prentice" to the 
practised hand in every school of Art since the 
antique days of Phidias have 4 Nymphs Bathing' 
been the wherewithal to fall back upon, because 
sculptors in their onward progress are too heedless 
of storing materials for thought. This nymph is 
like the universal Venus of some of the foreign 
schools — of which every disciple produces a version 
in each cycle of three years. We speak not, be it 
understood, in reference to the statue under notice, 
but to hundreds that have been executed under the 
same title, and whole galleries of others that will 
follow, unless there be more research for original 
subjects. In this figure there is some exquisite 
modelling, and the adaptation of parts is unques- 
tionably good ; the action not only sufficiently de- 
clares the intent, but relates also to many graces of 
the female form. 

1271. 4 The Mother/ H. F. Woodington. 
This is a group of two figures— supposing a mother 
bewailing her child drowned by the waters of the 
deluge. The artist has allowed himself some 
licence, for the text of Scripture declares that 
44 All in whose nostrils was the Ireath of life, 
died." The subject, as we read it in Genesis, is 
worthy of the chisel of the greatest sculptor who 
ever lived. The grouping is unfortunate ; the 
mother is bending over the child in a manner to 
conceal every beauty, and if the drapery be in- 
tended to fall as if wet, the design has been in- 
judiciously managed, for we fear it will not be ge- 
nerally understood. 

1273. 4 Model, life size, of a statue of Lord 
Viscount Nelson/ to be executed, 18 feet high, in 
stone from the Granton Quarry, and to be placed 
upon the column now being erected in Tratal^ar- 
square, E. H. Baily, R.A. By those yet living, 
to whom the person of Nelson was known, this 
statue is pronounced a remarkable likeness of 
the hero of Trafalgar. The figure is in uni- 
form, wearing a three-cocked hat, the right sleeve 
is looped to the coat, and the left hand rests upon 
a sword. We can conceive no impersonation more 
difficult for a sculptor to deal with than that of 
Lord Nelson; subjects presenting such untractable 
material will yield nothing, save to the most un- 
affected simplicity ; a method of treatment to which 
this statue owes much of its success. Such statues 
seldom have the head covered, but conventionality 
has here given way to recollections of the man, 
upon occasions in which those who may have seen 
him can only forget him when they have forgotten 
everything else. 

1274. 4 .Sketch for Eve — the Bride/ J. Bell. 
A work ably executed after a peculiar style of fe- 


128 


4 


THE ART-UNION 


[JUNE; 


male figure : it appears to have been wrought out 
from one model, whose imperfections have been 
carried into the design. Many of the parts pre- 
sent a matchless play of outline, but the figure is 
substantially too heavy. A devout admiration of 
the really beautiful would have dictated in this 
case a more literatim adherence to Milton — 

“ Grace was in all her steps ; heaven in her eye : 

In evaiy gesture dignity and love.” 

1275. * Venus rescuing zEneas from Diomed,’ 
J. H. Foley. A group of three figures, well ma- 
naged for effect, but not sufficiently epic in feeling 
to sustain the grandeur of the subject. There is 
everywhere visible, great anatomical knowledge, 
with evidence of study well directed. 

1276. 4 A Phrygian Hunter, modelled in Rome/ 
E. B. Stephens. The hunter holds a hound in 
leash, and powerfully instances attention fixed upon 
some distant object — as game. The idea is good, 
and the manner in which it has been wrought out 
is highly narrative : but the figure has the fault of 
being too meagre — wanting development. 

1277. 4 Statue in marble of Admiral Sir P. 
Malcolm/ E. H. Baily, R.A.. Eight feet is the 
height of this statue, which is intended for St. 
Paul's Cathedral. It is backed and upheld by a 
mass of marble wrought into a cloak ; an appen- 
dage of which we lose sight in considering the 
movement whereby the figure disengages itself from 
the supporting substance. The work will be a va- 
luable addition to St. Paul's ; a few more statues 
like this, and Behnes’s * Babington’ would so effec- 
tually overshadow the bulk of the monumental 
erections which we find there, as to raise the 
general character of the sculpture of that cathedral. 

1278. ‘ The Babes in the Wood,' J. Bell. The 
children lie enfolded in the arms of each other; 
and to aid the aptitude of the illustration, a few 
leaves are scattered near them. The relation is 
pathetically sustained, and the degrees of human 
life, infancy and childhood, truthfully pourtrayed. 
The work is, indeed, one of those pure and happy 
conceptions— skilfully and beautifully worked out 
— in the production of which the accomplished 
sculptor has few competitors. His mind is deeply 
imbued with a poetic feeling ; he is one of the few 
artists who attempt higher efforts than mere busts; 
and as his success has been great, he may take a 
very prominent station in the most elevated de- 
partment of the arts. We consider his onward 
and upward career as matter of certainty. 

1279. ‘ Statue in marble of Andromeda/ L. 
Macdonald. Many of the most elevated quali- 
ties of Art are visible here. The author has 
taken a clear view of his subject, and endowed it 
with due poetical eloquence ; although we conceive 
his construction would not have been too literal 
even with the addition of other circumstances from 
the story. We have seen from the chisels of the 
old magnates of the Art— the subject, as well in 
basso relievo as in pure sculpture — and (though, 
now, alas ! “ sedeant spectentque Latini", for the 
spirit has departed their school) — these respected 
fathers began and ended their tale ; yet how in- 
dispensable soever a conclusion may be, it is, 
perhaps, the exordium that we miss here, rather 
than the catastrophe, which cannot well be forgot- 
ten. 

1280. 4 The Falconer, to be executed for Flete, 
Devon, the seat of J. C. Bulteel, Esq./ C. R. 
Smith. This figure wears the costume of the 
palmv days of falconry, and will tell admirably in 
an old hall surrounded with the trophies of the 
chase. It possesses great merit. 

1281. 4 Group of the Graces in marble/ J. 
Loft. Three figures seated — contrary to usage. 
Much grace may be displayed in a sedentary figure, 
but all that can be thus shown must fall far short 
of the attributes of these creatures of poetry. The 
figures are so individualized that each is in the 
group, but yet not of it : such a want of correlation 
is always fatal to the interest of a subject. With 
respect to the disposition of the figures, it may be 
remarked that a mere departure from a normal 
propriety is not originality — aud in regard of the 
subject, it may, at once, be pronounced a bad one 
from adoption so general, since each sculptor, who 
selects it, subjects himself to comparisons, whence 
but a few may derive a modicum of credit ; seeing 
they have entered the lists and broken a lance with 
the greatest men of all times. 

1282. 4 Model of a statue of Michael T. Sadler, 
Esq., M.P./ to be executed in marble, for Leeds, 
P. Park. This statue is set forth in the ordinary 


attire of the day, without any of the legitimate aids 
whence sculpture derives advantage and value. 
The figure is in the act of addressing an assembly, 
having the right arm uplifted in a manner to give 
an angular and ungraceful appearance to the whole. 

1283. 4 Group of Abel and Thirza, from Gess- 
ner’s Death of Abel,' T. Earle. Abel is a fine 
conception wrought out with much ability; the 
subject is well chosen and has yielded a grateful 
return for the labour bestowed upon it. The 
power displayed in the male figure has flagged in 
the execution of that of Thirza; although the 
latter, considered apart, must be allowed to be of 
high merit. 

1286. 4 Eve and First-born/ W. C. Marshall. 
The affectionate cares of maternity are here but 
defectively expressed, for Eve seems heedless of 
the infant at ner side. The work, however, like 
the other productions of the artist, gives abundant 
evidence of genius. This and No. 1287, may be 
referred to in proof of the high power both in con- 
ception and execution of our British school. 

1287. 4 Venus rescuing ^Eneas from Diomed.' 
W. C. Marshall. In 1841 we are told this 
group obtained the gold medal, and it seems a 
very likely work to earn such distinction for its 
author. Venus and ASneas only are present, Dio- 
med being left to the imagination. The subject 
having been proposed as an effective one for sculp- 
ture, the part of Venus could not, by any means, 
have been left out ; although it is derogatory to 
the multipotcnce of^ven a heathen deity to be 
compelled, in defending her son, to throw herself 
between him and his enemy. The classic poets 
often reduce their divinities to the level of mor- 
tals ; and in this they must be followed— since in 
this and other licences — 

44 Their stars arc more in fault than they.” 

1288. 4 Oberon and Titania.' E. W. Wyon. 
The lines in the 4 Midsummer Night’s Dream/ 
commencing “ I know a bank whereon the wild 
thyme blows,” are here illustrated. Titania sleeps 
amid the flowers, and Oberon is about to streak 
her eyes with the juice of 44 love in idleness,” to 
make her 44 full of hateful fantasies.” The com- 
position is a bas relief, and in spirit and feeling 
comes well up to the poetry of Shakspere. 

1289. 4 A bas relief, representing Bacchus and 
Silenus.' J. Fillains. The artist has looked 
with advantage at the antique. There is a fine 
character in these figures which we cannot help 
admiring; albeit the subject is threadbare, and 
found passim among the ancients. 

1290. 4 Unfinished figure in marble of a Girl 
Trapping a Bird.” J. E. Carf.w. Well designed 
for the class of Art to which it belongs, but, being 
unfinished, is seen under disadvantage. It is, 
however, by no means unworthy of one of the most 
accomplished sculptors of our age and country. 

1291. 4 A Greek Warrior crouching, illustra- 
tive of caution and resolution/ P. Park. The 
extrinsic circumstances to which this figure has 
relation, such as an enemy, danger, &c. &c., are 
well defined; but there is nothing to warrant 
the extreme tension of many of the muscles in 
various parts of the body— an anatomical demon- 
station ; called for to such extent only when the 
body is in the most violent action. 

1293. 4 Statue in marble of a Bacchante.' L. 
Macdonald. The Nymph# bacchabund # of 
modem poetry being impracticable in sculpture, 
our artists seek les belles et les joyevses in the im- 
mortal verse of the ancients. Artists have at- 
tempted to invest such subjects with a modern 
spirit, and it is done, but the luxury of rich as- 
sociation is thus marred. The figure is beautiful, 
but the head would never be pronounced that of 
a bacchante : it corresponds not in expression with 
the rest of the figure. 

1294. 4 Statute in marble of Hyacynthus/ L. 
Macdonald. The design is that of a powerful 
mind, and the execution has been conducted to a 
happy issue by talent of a high order. The figure 
generally in the modelling shows an assemblage of 
beauties, though in the limbs some of the lines 
are deficient in richness ; and this is the more 
apparent in contrast with so much that is excellent. 

1298. 4 Model of a statue of Sir Astley Cooper, 
F.R.S.,’ &c., &c., E. Baily, R.A. Eight feet is 
the height of this cast, which is to be executed in 
marble for erection in St. Paul’s Cathedral. From 
the shoulders flows an academical robe, disposed 
in a manner to give much grandeur to the statue, 
which is further characterized by more personal 


elasticity than the frame of Sir Astley latterly ex- 
hibited. The resemblance is perfect, and the sculp- 
tor has gifted the features with the most impressive 
language ; in short, every part of the work is in the 
purest taste. 

No. 1299. 4 A Monumental Angel, a statue in 
marble, part of a group at the entrance to a Family 
Vault/ R. Westmacott, A.R.A. A fine and 
delicate conception, exquisitely chiselled. 

1301. 4 Summer, a statue in marble/ S. Nixon. 

A child bearing a garland of flowers, the whole, 
perhaps, better in execution than design. Th< j 
work is one of a series for the hall of the Goldsmiths’ 
Company. The flowers are equal to anything ol 
the kind we have ever seen in sculpture ; but the 
song of summer-tide might have been better sung. 

1303. 4 An Old Satyr, extracting a thorn from 
the foot of a young man/ B. Smith. This is a 
bas-relief, and reminds us, in its design, of a gem 
we have somewhere seen like it. 

1304. 4 Statue in marble of Sir Charles Forbes, 
commissioned by the native merchants of Bombay,' 
the late Sir F. Chantrby, R.A. This work re- 
sembles, in all its parts, a great many others of its 
distinguished author. It has by no means the force 
and power of some of his busts, for these qualities 
lying chiefly in the heads were in a great measure 
counteracted by infirmity of design when the por- 
trait extended to the foil figure. There is, how- 
ever, about the statue that integrity which has 
always marked those of Sir F. Chantrey. 

1305. 4 A Favourite Horse, the property of Lady 
Dallas/ H. W. and C. M. Mac Carthy. A small 
model in plaster, remarkable for a display ol' 
knowledge of the proportions and character of the 
animal. 

1313. 4 Colossal bust in marble of the late Right 
Hon. J. P. Curran,' C. Moore. This is a portion 
of a monument to the memory of Curran, to be 
erected in St. Patrick's Cathedral, Dublin. The: 
head, — we can speak only of that,— is the produc- 
tion of a mind capable of realizing its impressions! 
with the most perfect success. Although we ob- 
serve here the gravities, the more serious part of 
Curran's character, there is also a mingling of that 
which, in a lighter mood, would express wit, but 
which now threatens sarcasm. 

1319. 4 Bust in marble of the late J. Gray, Esq., 
of Carntyne/ S. Josf.ph. In any assemblage this 
would be a remarkable bust ; in the features are 
graven the most perfect expression of benignity. 

1327. 4 Marble bust of Sir W. Follett, M.P./ 

E. B. Stephens. The friends (we are told in 
the catalogue) of Sir W. Follett have commissioned 
this bust for the purpose of placing it in the Devon 
and Exeter Institution. As a portrait, not only in 
physique , but in the character, it is one of the most 
successful we have ever seen. The eyes are with- j 
drawn into deep shadow ; they have the effect of at I 
once fixing the attention of the observer, who finds 
in them every evidence of a keen and penetrating | 
intelligence. I 

1330. 4 Francis Grant, Esq.,' E. Davis, The 
free and flowing manner of the hair of this head is I 
beyond all praise, it seems to be precisely 44 as the j 
winds have left it ;” and in the whole there is as 
much of poetical sentiment as may be risked in 
portraiture. So Schiller-like is the head that it i 
would enrapture the burschenschaft of Germany. I 

1331. 4 Bust in marble of Sir James Eyre, M.D./ 

T. Butler. At the first sight of this work the 
spectator is struck with the vitality of the features, 
and is arrested by their power of speech ; the mar- 
ble has something to say to him. There is no self 
involution ; the bust is explained from its own lips. 

It is a work which would do honour to the greatest 
of our sculptors ; for no skill in the art can exceed 
that with which it has been elaborated into the 
elevated character it bears. A finer bust than this 
we have never seen, it will bear comparison with 
any of modem times. 

1346. 4 Lady Godiva/ W. Behnes. A female 
equestrian model, original in design, and beautiful 

I in execution. The horse is in a novel position, being 
I in the act of rubbing i.is nose against nis leg, a most 
ingenious conceit, highly favourable to the impor- 
tance of the mounted figure. We may suppose 
the lady about to set off on her progress through 
the streets of Coventry. She is admirably mo. 
defied, and is seated on her palfrey with much ease 
and grace. 

1347. 4 King Charles I., a sketch/ H. Nichol- 
son. This small figure is the result of much re- 
search into the costume of the cavalier period. It 





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THE ART-UNION 


129 


is “ toileted ” with exceeding care, and reminds us 
much of the small portrait of Charles in the Louvre, 
painted by “ that Antonio Vandyke.' 1 

No. 1348. * Scenes at a Fair in the North of Ire- 
land.’ E. Kennedy. If there be any meaning 
in the words alto relievo , that meaning is cer- 
tainly made out in this piece of sculpture, wherein 
the figures in number amount to thirty, many of 
them chiselled out of the mass with a boldness of 
relief truly surprising. Every circumstance of the 
composition alludes to Irish character in its broad- 
est development, and the action of the various 
groups is so ingeniously distributed as to leave no 
single figure unmoved by the spirit of the whole. 
There might have been more nicety of execution 
in the work, but we doubt if there could possibly 
have been a more perfect national identity than is 
here shown. It is, indeed, the work of a most ac- 
complished mind, and tells the story admirably. 
No writer of Irish subjects has every brought a 
familiar Irish scene more completely before a spec- 
tator. Every person introduced contributes his, or 
her, due portion to the value of the whole ; and 
in the countenance of each is that expression which 
speaks forcibly of the gaiety and humour so 
strongly illustrative of the country. Yet there is 
no exaggeration about it, and not the remotest ap 
proach to vulgarity ; although no attempt has been 
made at undue and 44 untrue" refinement. The 
work is fall of vigour, life, and character, and tells 
as much as might be found in many a printed 
volume. In these days, when the sculptor too often 
either dedicates himself exclusively to the “ clas- 
sic," or devotes himself constantly to the common 
place, it is absolutely refreshing to find an artist 
thus applying genius, industry, and powers of exe- 
cution to the development of an ordinary incident, 
in which the poetry is retained without sacrificing 
the truth. This alto relievo is, in all respects, 
honourable to the mind and hand of the producer, 
and is a work of rare value. We have dwelt upon 
it at greater length than we should have done, De- 
cause, we understand, it is the production of a 
lady — not of the profession — whose station in so- 
ciety has made the cultivation of taste a source of 
enjoyment to herself— and, now, to others. It is 
scarcely necessary to add that she is an Irish lady. 

No. 1354. * Marble Bust of Edward Hawkins, 
Esq., F.R.S., M.S.A.,' T. Thornkycroft.— 
There is in this work much of the excellence of the 
highest school of Art— it is pure in style, and care- 
ful in execution. 

No. 1355. ‘ Marble Bust of Sir W. Molesworth, 
Baronet,' W. Behnes. Independently of its 
striking similitude to the original, this would any- 
where be a remarkable bust — the arrangement of 
the hair is to the life, and gives the head at once to 
a person tinctured with enthusiasm of some kind. 

No. 1360. ‘ Marble Bust of D. Blaine, Esq.,' J. 
G. Lough. In the countenance is the inpress of 
the most perfect tranquillity of temperament. The 
drapery is simple and beautiful. 

No. 1363. ‘Bust in Marble of the late Peter Bur- 
rowes, Esq., of Dublin,' T. Butler. Much skill is 
here displayed in the management of the features, 
which are those of a person advanced in age. Age 
is finely expressed, and without any of its vacancy. 

No. 1375. * Marble Bust of David Barclay, 
Esq.,' S. Joseph. The intelligence of this head 
is in fall action — the sculptor has left it at work. 
It is something to be able.to impress the spectator 
with this idea. 

No. 1376. ‘ Bust of Lady Baker,' L. Macdo- 
nald. The bust (properly so called) of this work 
is better than the head. The shoulders are round 
and well modelled. 

No. 1384. * Marble Bust of Thomas Poynder, 
Esq.,' W. Behnes. The cranium has been finely 
modelled, and no less admirably sculptured. The 
expression of the countenance is benign to a degree. 

No. 1385. ‘ Bust in Marble of Mrs. Edward 
Tyrrell,' E. A. Foley. The best taste has been 
exercised in the execution of this bust. It is grace- 
ful, and free from the reproach of affectation. 

No. 1393. ‘ Marble Bust of the Marchioness of 
Douro,' T. Campbell. The utmost nicety and 
care has been used in the carving, but no finesse 
can ever compensate for such a want of expres- 
sion as we find here. A tiara mingles with the 
hair ; without it we think there would have been a 
better effect. 

No. 1396. ‘ Marble Bust of Allan Cunningham, 
Esq.,’ H. Weekes. This is one of the most cha- 
racteristic works we have ever seen. As a likeness, 


it is the life itself. The simplicity of the work is 
carried almost to a fault, although this denial of 
appliances has a worthy object. Nothing can ex- 
ceed the penetrating power thrown into the eyes, 
whence gleams the light of life, bespeaking an ac- 
tively-thinking intelligence. The energy of this 
head is unsurpassed. The light arrangement of 
the hair is beautiful to the last degree, and the ge- 
neral finish the mastery of Art. 

No. 1397. * Bust in Marble of a Lady,’ W. C. 
Marshall. There is a sentiment in the work 
betokening a refinement of feeling rarely thus 
| shown. 

No. 1404. 1 Marble Bust of the Rev. Samuel 
Wilson Wamford,' P. Hollins. The style of 
this head is bold; the features are animated by 
! much earnestness, and the manner of the air free 
and natural. 

No. 1409. 4 Marble Bust of James Morrison, 
Esa., M.P.,' the late Sir Francis Chantrey, 
R.A. A close inspection identifies this with the 
general feeling of the late Sir F. Chantrey. There 
is a strong purpose in the head, and the fi nish is, 
as it always has been in his works, exquisite. 

THE ARCHITECTURAL ROOM. 

This room contains the same ill-advised and 
injurious mixture as usual, of designs for churches 
and 4 Scenes from the Vicar of Wakefield ;' ele- 
vations of orphan asylums with 4 Mountain 
Maids ;' almshouses with 4 Faries sporting ;' 4 a 
Wood Scene in Hampshire ' crowns a design for 
Camberwell church ; and 4 H.R.H. Prince Albert ' 
is not far from a county lunatic asylum. This 
system, alike injurious to the painter and the 
architect, we have constantly and earnestly repro- 
bated; but it is useless to expect any alteration in 
it until more space be taken for the exhibition 
generally. 

As a whole, the 130 architectural drawings here 
exhibited are more satisfactory than those of some 
years past, and serve to remind one that many 
works of more than ordinary magnitude are now 
in progress in England. 

C. Barry, R.A. elect, exhibits two beautiful 
drawings of different portions of the 1 New Houses 
of Parliament' (1030 and 1040), made with the view 
of showing the effect of a proposed mode of deco- 
rating the walls with paintings. The first is a 
View of the Royal Gallery, showing the return 
of the procession on the occasion of opening Par- 
liament; and the second, 4 St. Stephen’s Hall,' 
forming part of the public approach to the two 
Houses, the libraries and committee-rooms. Pic- 
tures in square panels occupy the walls, and the 
vaultings of the hall are heightened with colours : 
the whole forms a specimen of elaborate deco- 
ration at present without a parallel in England; 
and if so executed, cannot fail to give an impetus 
to the decorative arts, the effect of which will 
speedily become visible alike in our manufactures 
as in our dwellings. The premiums offered by the 
Royal Commission with a view to this end, already 
commented on in our pages, prove that the matter 
is now taken up in earnest, and lead us to antici- 
pate most satisfactory results in connexion with it. 

No. 1068, by R. H. Essex, representing the 
4 Interior of the Temple Church, London,' as it 
will appear on the completion of the restoration 
now in progress, affords another example of in- 
terior decoration worthy of consideration. 

T. L. Donaldson has three designs : the new 
4 Scotch Church recently erected at Woolwich,' 
(1110); 4 All Saints Church, Gordon -street, St. 
Pancras,’ now in course of erection (1118) ; and 
the approved elevation of 4 Hallyburton House, 
Angusshire,' the seat of the late Lord Douglas 
Hallyburton (1091). The latter is composed in 
the style of the Florentine palaces, the chief cha- 
racteristics of which are solidity and massiveness. 
Sculptured figures are introduced at the angles of 
the building. The recessed porch would be very 
effective. The Gordon-street Church is of the 
modem German school of architecture, and has 
some details of much elegance. Coloured marbles 
are introduced externally in decoration, but some- 
what too sparingly. 

Wyatt and Brandon have sent, a view of a 
4 New Church at Crockerton’ (998) ; 4 Interior and 
Exterior of a Church at Wilton (1019 and 1055) ; 

4 County Courts at Cambridge' (1038) ; 4 St. An- 
drew's Church, Bethnal-green’ (1080) ; and a 
4 Church at Merthyr Tydvir (1093) : a goodly list, 
bearing evidence of their ability and good fortune. 


The most striking of these designs is that of the 
church at Wilton, which is Italian-Norman in 
style, and has an attached campanile of striking 
proportions. Some parts of the campanile, it may 
be remarked, hardly agree in style with the rest of 
the building, being of a more recent period. 

P. Hardwick, R.A. 2 besides a 4 Mansion at 
Maresfield’ (1062), has a large drawing of his fine 
staircase in Goldsmiths' Hall: the effect of the 
drawing, however, is hardly equal to that of the 
object represented. 

Nos. 1027 and 1050 are admirable drawings by 
J. W. Atkinson, of the 4 Palace at Moorshedabad,’ 
erected for the Nawaub Nazim, by Major General 
M 4 Leod. This building, which is above 400 feet 
long, 200 feet wide, ana 50 feet high, is Grecian- 
Doric in style, and has a portico at front and back. 
The erection of this building has caused much sen- 
sation in its locality. 

H. L. Elmes has an admirable perspective of 
his no less excellent design for the 4 Assize Court,’ 
at this time in course of erection in Liverpool 
(1037) ; and a view of the 4 Liverpool Collegiate 
Institution,’ — the first Greek, the second Gothic. 
Mr. Elmes is an architect of no ordinary ability, 
and bids fair to obtain a high place in his profes- 
sion. 

L. N. Cottingham, in 1123, shows the 4 Choir 
of Hereford Cathedral,' in the restoration of which 
he is now engaged. 1083 is an elaborate drawing 
of the 4 High Altar at St. Alban's Abbey Church, 
by the same gentlemah. 

No. 994. 4 A Royal Academy for the Fine Arts,’ 
including national glyptotek and pinacotek, by 
Carl Tottie, is a fine design. 

E. B. Lamb has an exceedingly clever little 
drawing of storehouses and other buildings, de- 
signed for a public company. No one understands 
Italian architecture better than Mr. Lamb. The 
same remark, substituting Elizabethan for Italian, 
will apply to H. E. Kendall, jun., who exhibits 
two views of his design for a country mansion, 
which obtained the gold medal at the Society of 
Arts. 

Edward Hall, known by his success at the 
Institute of Architects, has a tasteful little design 
for a sculpture gallery, 1156. 

For Camberwell Church there are no less than 
eleven designs, none of which, however, have more 
than ordinary pretensions. 

No. 1112, is a nice drawing, by J. Goldicutt, 
of the 4 Church now Erecting at Paddington,’ from 
the designs of Gutch and Goldicutt : the manner 
in which the competition for designs in this case at 
Paddington was conducted, has justly excited much 
animadversion ; it is ? however, gratifying to find 
that a satisfactory building is likely to result. 

W. H, Campbell's 4 Design for a House of Par- 
liament ’ (1163), which gained the gold medal of the 
Royal Academy last year, is a work of no common 
merit — it is coloured, too, in very masterly style. 

No. 1067. 4 Design for the Cove and South 
Hawley Church, Hants, by E. C. Hakewill, 
although an unpretending structure has claims for 
originality. We must not omit to mention, too, 
a 4 Model of Salisbury Cathedral and Cloister,' in 
card-board by G. Truefitt (1168), evidently a 
work of much patient labour. Our space will not 
enable us to do more than thus point out some of 
the most striking works in this very important 
department of the Academy, although we would 
gladly go into lengthened criticism, and give a rea- 
son for every opinion we have expressed. 

[We have thus gone very fully through the ex- 
hibition; having noticed, as we believe, nearly 
every work of which we felt justified to speak in 
terms not disagreeable to the artist ; for we adhere 
to our plan of not going out of our way to direct 
attention to works that may be referred to with 
no other result than to pain or annoy the painter. 

It is not improbable, however, that we have 
omitted some which deserved praise, and demanded 
observation ; in so large an assemblage of objects 
this evil is, indeed, almost unavoidable ; and we 
therefore intreat the indulgence of those who may 
feel that we have unfairly neglected them. 

We repeat our conviction that the exhibition, 
taken altogether, is highly satisfactory. From 
among the junior candidates for distinction, the 
seniors will have no difficulty in recruiting their 
ranks. We, for a time, respectfully and cordially 
bid the exhibitors farewell— bidding them 44 go on 
and prosper !"] 


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THE ART-UNION 


(JUNE 


♦ 



MEO MKRRILIE8 IN THE AULD PLACE OP ELLANGOWAN. 

“ Twist ye, twine ye ; even so 
Mingle shades of joy and woe." 

Gut Mannerino, Chap. iv. 

R 8. Lauder, del. Thomibon. se. 


Me Iax, del. 


UIRK HaTTERAICK. 

Guy Mannerino, Chap, iv, 

8 kith and Linton, ac 


DOMINIE SAMPSON SUMMONED TO DINNER. 

Guy Mannerino, Chap. it 

SiBaoN , del . Smith and Union, ac 



THE rVGRAVINGa rRINTED BY WRIGHT AND CO., 76 , FLEET STREET, 

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131 


1842 .] 


THE ART-UNION. 



PRESTON TOWER. 

Near the Scene of the Battle of Prciton Pane. 

Waverlky. 

D. Robert*, R A., del. r. Branston, ec. 



CARLAVEROCK CASTLE, 

The Ellaitgowan of Guy Mannering. 

D. Robert*, R.A., del. 8. William*, *c. 



CHAIR IN STUDY AT ABBOTSPORD, 

Made of the wood of the Wallace Tree. 

SIR WALTER SCOTT’S HAT AND STICK. 

IMckkb, drl SwAlN.sc. 


GIFTED G1LFILLAN REPROVING THE DRUMMER. 

Wayerley, Chap. Ezxir. 

Me Ian, del. Smith nnd Linton, sc 


GIPSIES 


KING AT CLUNY CASTLE, 


John Gilbert, del. 


Gut Mannerinc,. 


PoLKARD, ec. 


Worn by Charles Edward in the days of Waverley. 
Dick e*, del. Withy, ec. 


WITH INK MANCFACTURED BY HOW AND FAliflONS, EXPRESSLY TOIl WOOD-CUTS. 

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132 


THE ART-UNION. 



ROSAMOND, 


When as King Henry rulde this land, 
The second of that name, 

Besides the queene, he dearly lovde 
A faire and comely dame. 


Most peerlesse was her beautye founde, 
Her favour, and her face ; 

A sweeter creature in this worlde 
Did never prince embrace. 

Her crisped lockes like threads of golde 
Appeard to each mans sight ; 

Her sparkling eyes, like Orient pearles, 
Did cast a heavenlye light. 




gg 



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i 

ry 

. I 




s 

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Fr\m;liv, iM. 


1'. U lLLiAUH, 



Gilbert, del. 


VitrrtLLY. k. 


THE BOOK OF BRITISH BALLADS.* 

Finding that our subscribers, generally, have been 
much pleased with the examples of wood-engravings, 
from illustrated books in course of publication— which 
we have been enabled, occasionally, to introduce into our 
pages — we have made arrangements to give, somewhat 
frequently, this additional advantage to “ The Art- 
Union.” 

We here present specimens of ** Thx Book or 
British Ballads;” and on the other sides of these 
leaves, a few selected from “Thr Abbotsford Edi- 
tion of the Waverley Novels,” — of the latter we 
shall be enabled to speak Ailly and freely ; in reference to 
the former, however, we must content ourselves with 
printing the Editor’s " Introduction.” 

• Edited by 8. C. Hall, Esq., F.S.A. Publishing in 

Monthly Parts, by How and Parsons, 132, Fleet Street. 


"Although various collections of British Ballads 
have been published, from time to time, since the 
elegant mind, refined taste, and sound Judgment, of 
Bishop Percy were brought to bear upon the interesting 
and important subject, no attempt has been made to 
select and arrange, in a popular form, the best of these 
Ballads, from the several volumes in which they are 
scattered, and mixed up with a mass of inferior, or 
objectionable, compositions. This appears, indeed, to 
have been almost the only department of our * Polite 
Literature* to which public attention has not been 
adequately directed. Yet, without subscribing to the 
opinion, attributed to high authorities,—* Give me the 
making of National Ballads, and I care not who makes 
the Laws’ — it requires no argument to prove their 
powerful influence, over the thoughts and feeling of all 


classes— the cultivated as well as the uncultivated. It 
is not too much to say, that in * uncivil! ages ’ no source 
of instruction was so fertile, — and no Missionary so 
effective in moulding the general aentiment, as *the 
blinde crowder,’— it may have been, — ‘who with no 
rougher voice than rude style/ stirred up the sympathies 
of the multitude, and moved even the great heart of 
Sidney ‘more than with a trumpet.* Nor can hs be 
considered a visionary, who would draw conclusions, as 
to the pre-eminently moral character of Great Britain, 
from the fact, that the songs which encourage virtue 
and Justice, uphold heroic fortitude, and inculcate, as 
an axiom, that * God defends the right,’ have been, in 
all ages, the chiefest ‘ darlings of the common people.’ 

" The Editor will endeavour to form a selection that 
shall be agreeable and interesting to the general reader, 


THE E.NGRaMV.B 1’RINIED Hi WHIOUT ANU CO , 


;<j, rut at >t ha at, 

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THE ART-UNION. 


133 


i 


i 


i 


i 



TIIE BLIND BEGGAR. 

Itt was a blind beggar, had long lost his sight, 

He had a faire daughter most pleasant and bright : 
And many a gallant brave suiter had shee, 

For none was soe comelye as pretty Bessee. 

And though shee was of favor most faire, 

Yett seeing shee was but a poor beggar’s heyre, 

Of ancyent housekeepers despised w as shee, 
Whose sonne6 came as suitors to prettye Bessee. 



Gilbert, del. 


Vizictblly, SO. 


Dtce, del. 


Linton, ac 


j and not unsatisfactory to the antiquary and the scholar. 

It is, however, an essential part of his design, to collect 
; only the ballads that appear most worthy of preserva- 
| lion,— and not to reprint those which have no stronger 
! recommendation than their rarity; rejecting none, be- 
; cause they are already sufficiently known, and accepting 
- none, because they are merely scarce. It will be his 
! duty to decline no labour that may give completeness to 
i his task, and to omit no opportunities of consulting 
| available sources of information, whether accessible to 
I ail readers, or to be obtained only by patient industry 
| and careful search. His plan, in its several details, it 
i is unnecessary for him to explain, inasmuch as it is here 
sufficiently developed. It will be perceived, that he has 


not modernised the orthography; believing that 'these 
old and antique songs ’ will be most readily welcomed in 
their ancient dress,— 

' The garb our Muses wore in former years.’ 

“ It will not, however, be expedient to follow any 
chronological order ; to do so with accuracy would be, 
indeed, impossible, for there are few of the more ancient 
compositions to which any date can be assigned. The 
Editor will, therefore, consider himself justified in so 
arranging these Ballads as to obtain variety, both of 
style and illustration, without regard to the period at 
which they were written, or the sources in which they 
originated ; prefacing each by such explanatory remarks 


as shall communicate all the Information he can obtain 
concerning its history. 

“ In illustrating the work, he has been ambitious, so ' 
to apply the great and admitted capabilities of British I 
Art, as to prove that the embellished volumes of Ger- 
many and France are not of unapproachable excellence, 
in reference either to design or execution. lie believes 
himself warranted in stating that, as the work progresses, 
he will be enabled to submit examples of the genius of 
a large proportion of the more accomplished artists of 
Great Britain — as exhibited in drawing upon wood. The 
supremacy of our English engravers, in this class of 
Art, has been long established.’’ 


WITH 1HK MANUFACTURED BY HOW AND PARSONS, EXPRESSLY POR WOOD-CUTS. 

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THE ART-UNION 


[June, 


AN ARTISTS TOUR. 

[For the very interesting, although brief and 
limited tour, described in the following letter, we 
are indebted to an artist, who already holds a dis- 
tinguished. rank in his profession. It exhibits 
proof that he has not passed through fertile Italy 
without turning valuable opportunities to profitable 
account. He has very properly communicated to 
his professional brethren his observations in refer- 
ence to a remarkable vicinity of Rome, of which 
many of its permanent residents know little or 
nothing. We hope his example may be followed. 
There are many artists who mi^ht thus confer be- 
nefit on the student, supply information to the 
traveller, and afford enjoyment to the public.] 


Rome, 3rd June, 1838. 

I have been traversing the classic, though now 
desolate shores of Ostia, Ardea, Nettuno, &c., 
accompanied by an intimate friend, a Swiss artist. 
We set out on foot at four o’clock in the morning, 
carrying with us our sketching materials, a knap- 
sack containing linen, &c., good stout sticks with 
iron points, to defend ourselves on the road in case 
of necessity, and a chart of the country to facili- 
tate our progress.. We arrived at Fuemiccino 
about ten o’clock in the morning, and, having 
refreshed ourselves, proceeded to Ostia, passing 
the famous fields of Apollo, on which stood his 
temple, now a melancholy waste, marshy, and 
sterile. We arrived at the ancient Ostia about 
twelve o’clock, having crossed the Tiber a little 
below its termination into the sea, a slight memo- 



randum of which I transferred to my sketch- 
book. After having scrambled our way with much 
difficulty through long grass and brambles, we 
entered the ruins of a temple said to be the 
Temple of Jupiter, and which still bears evident 
marks of former splendour ; from these ruins we 
had a view of the very slender remains of the 
ancient city, which consist of a number of founda- 
tions of buildings, &c., almost lost amongst briars 


and brambles. One can scarcely imagine, when 
looking on the desolate scene around, that this 
was once a flourishing and populous city, into the 
ports of which entered vessels from all parts of the 
world. Leaving these ruins we arrived at the 
modern Ostia, and were so much struck with its 
appearance, that we sat down to take a sketch of 
it : it is a most picturesque object, and the two 
pines which grow in front of its half- ruined walls 



add much to its “ picturesqueness.’ ’ After the 
dreary waste we had left, it seemed like a spring 
in the desert. Haying completed our sketches, and 
feeling our appetites sharpened, we entered the 
village, and were served at the inn with a sorry 
repast by a brutal and ill-looking landlord, who 
made us pay exorbitantly. We took a survey of the 
interior of the large tower, but found in it nothing 
particularly interesting, except a few inscriptions 
dug out of the neighbouring ruins. Having satis- 
fied our curiosity, we proceeded by a pleasant 



walk to Castel Fusano, a country seat of Prince 
Ghigi, where we intended to pass the night : it is 
an old castellated mansion ; and tradition says 
that the stone figures of sentinels on the top of 
this mansion were placed there to deceive the 
Turkish corsairs, who from time to time made in- 
cursions on the neighbouring shore, and did not 
spare the castle itself. It is situated in a spacious 
though neglected park, and is surrounded by 
beautiful pines. As we approached it the sun was 
setting, and threw a gorgeous light on an avenue 
of those trees, at which we were gazing with admi- 
ration, when we were accosted by the costode, or 
keeper of the park, with whom we entered into 
conversation ; in the course of which he informed 
us, to our great vexation, that the steward had 
accompanied the prince to Rome, and that all the 
rooms in the castle were locked up, and advised us 
to go back to Ostia. Here was a pretty predica- 
ment : we were not disposed to retrace our steps, 
as the distance from Ostia was seven miles ; nor 
did we like trusting ourselves in the hands of the 
worthy landlord, and other certain ferocious- 
looking individuals we had noticed in the inn. We 
therefore begged and prayed of the custode to give 
us shelter, if it were only in a shed, explaining 
to him our forlorn condition. Upon consideration, 
he said he would apply to the cowherd, who lived 


in a kind of hovel with his family adjoining the 
villa, whither we accompanied him ; and, after no 
little persuasion, he was induced to give us shelter ; 
we supped with the cowherd and his family on 
bread and water, this being the only fare they had 
to offer us. He then conducted ns to a room with- 
out furniture, and having supplied ns with some 
straw for beds, and lighted a are, we laid down to 
repose ourselves, or at least with that intention, 
for we were kept awake all night by the buzzing 
of musquitoes, with which this part of the country 
is infested : they bit me so severely on the hands 
that I still bear the marks of them. We arose at 
daybreak, not sorry to get out of our wretched 
resting- place. It was a chill misty morning, and 
our prospect of breakfast was very doubtfnl, but 
we were sustained by our enthusiasm : we thought 
of Virgil, Apollo, &c. ; and my friend, who is a 
zealous classic, opening a pocket edition of the 
iEneid in Italian, spouted as we proceeded briskly 
along a road in the midst of a wood, formed from 
the materials of the Via Severiana, and which 
brought us to the sea-side just in time to see the 
sun rise on the ocean — a glorious sight ! which 
gave us fresh energy. So beautiful was tbe effect, 
that I was induced to make a sketch of it, but 
gave it over in despair ; and after we had lingered 
awhile gazing on the broad blue ocean, we pro- 
ceeded along the shore for many miles without 
meeting a soul, except two or three soldiers sta- 
tioned in cabins to prevent smugglers from land- 
ing. The sands in this part are very smooth, so 
we took off our shoes and stockings and walked in 
cuerpo the whole length of them : having trotted 
in this manner for about seven or eight miles, we 
arrived at a solitary tower called the Tor Paterno, 
inhabited by a few miserable looking soldiers em- 
ployed in watching smugglers : this was the site 
of the famous city of Laurentum, celebrated by 
Virgil in his iEneid, and which was the first place 
where A£neas landed on his arrival in Italy ; and 
the daughter of whose king, Latinus, he married. 
Leaving the sea-shore we branched off into the 
road to Practica, the place of our destination for j 
that day : this path lay in the midst of a wood 1 
which, for desolate wildness, I conceive, may j 
rival any in the most savage region. After walk- 
ing a considerable distance without meeting with 
any living creature, except snakes and lizards, 
and descrying no signs of Practica, we began to 
imagine we had lost our way ; this was a melan- j 
choly reflection ! we had tasted nothing but a bit | 
of bread since twelve o’clock the preceding day. 
The sun shone hotly upon us, and we were encum- , 
bered with our trappings ; yet, not allowing our j 
courage to flag, we trudged on till we arrived at a ! 
cross-road in an open country ; here, however, we i 
could discover no signs of Practica ; and my com- ; 
panion leaving me in charge of the luggage walked j 
to a hill at a short distance, where he, to his great ' 
joy, discovered the eagerly sought for town ; and 
at that moment some labourers coming up, told i 
him they were going on the road to Practica to a 
farm, where they were employed in hay-making, 

We all joined ; and having arrived at the farm, ] 
were enabled to procure some bread and wine, which j 
you may easily imagine we needed not a little, i 
After this refreshment, we proceeded to Prac- | 
tica, where we arrived about two o’clock in 
the day, having slept on the ground for above two j 
hours from excessive fatigue. This town is very 
small, but prettily situated, and from the tower of 
a palace of Prince Borghese there is a most mag- 
nificent distant view of Rome, and the surround- 
ing countries of Albano, Gensano, Frascati, Ac. 
Practica is situated on the same site as Lavinium, 
built by iEneas in honour of his wife Lavinia ; and | 
many antiquities have been dug up in the neigh- 
bourhood. After having dinea and supped tole- ! 
rably well in the inn of the place, we went to rest, t 



and next morning early we set out for Ardea, 
sketching many objects on the road. It is a curi- 
ous circumstance, that all the farm-houses and 


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135 


1842 .] 


THE ART-UNION. 


cottages on this road were formed exactly in the 
same manner as those described by Virgil t and 
they are only to be found so in this part of the 
country. We passed several herds of fierce looking 


buffaloes, which we wished a hundred miles off ; 
luckily, however, they offered us no annoyance. 
The country round about on this road is very pic- 
turesque, and now and then one catches a distant 


view of the sea, or of a long line of blue moun- 
tains. We arrived at Ardea about twelve o'clock : 
this town is exceedingly picturescme and interest- 
ing ; the air, how ever, we were tola, is so extremely 



I bad in the summer that all the inhabitants leave it 
and go to more healthy parts. Ardea is celebrated 
by Virgil in his iEneid as the habitation of Turnus, 
King of the Rutuli ; and Ardea was the capital of 
their kingdom: it was besieged by Tarquin the 
Proud ; and in after ages was the retreat of the cele- 
brated general Furius Camillus, on leaving his un- 
grateful country; and from its gates he sallied 
forth to combat Brennus, King of the Gauls, when 
he had reduced Rome to its last shift. We occu- 
pied ourselves in sketching many objects there the 
rest of the day, and the next morning departed 
for Porto d’ Anzio. After passing many fields of 
oxen and buffaloes, we arrived at the sea side, at a 
large tower, called the tower of St. Lorenzo, where 
we reposed ourselves for a short time, and break- 
fasted on some provisions we had brought with us 
from Ardea ; for experience had taught us the ne- 
cessity of providing ourselves in this manner. We 
then walked for many miles along the sea shore : 
the morning was very fine, and the sea of a beauti- 
ful azure blue, now and then relieved by a tint of 
emerald green, and where the sun was reflected on 
its surface it appeared as if spotted with a thousand 
brilliants. In England it is impossible to imagine 
these effects ; the deepest ultramarine is not too 
strong to represent the sea in fine sunny weather : 
there was one annoyance, however, in the midst of 
this beautiful scene, which tended to disturb the 
delightful feeling it produced ; numbers of oxen, 
driven by the great heat from the woods and mea- 
dows lying inland, had come out to the border of 
the sea to enjoy the freshness of the breeze, and 
we had to drive them away as we passed along, 
though not without some fear and trembling. We 
at length arrived at a solitary tower on the sea 
shore, called the Solfatara, where we reposed ; and 
gazing on the sea shore, and reflecting on the 
44 dangers we had passed,” we regarded with other 
feelings the formidable oxen, forming, as it were, 
in the perspective, a white border to the beach ; 
and they now served to remind us of Europa and 
the 44 fair white bull." Keeping along the shore for 
four or five miles, we arrived at Porto d' Anzio. 
The first object that met our eye on entering the 
town was a large villa where Don Miguel resides 
when he goes into the country ; his constant occu- 
pation is in shooting the wild boars, &c., which 
frequent the neighbouring woods. Passing by the 
villa, we came to a barrack of soldiers, and were 
passing some ruins on our right unnoticed, when 
we were addressed by an officer from the window, 
who told us they were the remains of Nero's birth- 
place 41 1 have no doubt," said he, 44 but that to see it 
is oneof theobjectsof yourvisit here." We answered 
in the affirmative ; and he then politely directed 
one of the soldiers to show us over the ruins. They 
! contain many rooms with rich mosaic floors and 
' painted walls : we observed many small apartments 
! which have evidently been baths, and on the upper 
part of the room is a very handsome mosaic floor 
m black and white. This palace, of which these 
ruins formed but a very inconsiderable portion, 
extended to a great distance, covering a large space 
1 of ground ; it was among a part of its remains that 


the famous statue of Apollo Belvidere, and many 
of the chef-d'oeuvres which now adorn the Vati- 
can, were found, but the spot where they were dis- 
covered has since been filled up, the ruins that 
remain have only been excavated within a short 
space of time. Having satisfied our curiosity, we 
went to the inn where we met the officer, who had 
called our attention to the place ; we found him 
a very pleasant, well-informed man, a native of 
Ravenna : he invited us to the barracks to show.us 
some drawings and sketches he had made, which 
were indeed very creditable ; he pointed out some 
very beautiful views to us, which he thought we 
might like to sketch, particularly a very extensive 
one from his room window. To the left lay 
Nettuno, a very picturesque little town bordering 
the sea, with a small fort of the middle ages ; be- 
yond, and extending to a considerable distance, 
lay a beatiful line of majestic mountains, spotted 
with the small towns of Norma, Sermonetta, and 


Sezza— the shore, continuing from Nettuno, runs 
on towards Terracina, and is entirely uncultivated 
and deserted. Formerly the shore was covered 
with gorgeous palaces, villas, and temples ; and at 
Nettuno, was a magnificent temple of Neptune, 
from which it took its name, and the foundations 
of which are still visible. More to the right, lay 
the famous promontory of Circe, rising like an 
island (which it formerly was) from the sea. It 
was here the famous sorceress Circe had her habit- 
ation, and where she turned, by her incantations, 
men and women into animals. If ever there were 
| a beau ideal of an enchanted spot, it is this : it 
; rises like magic on the horizon of the sea ; and 
when we beheld it, was of a light purple mixed 
with a warmer tint from the reflection of the sun 
on its crags. Below it, and in the foreground, lies 
the pier, arsenal, and part of the town of Porto 
d' Anzio. One would little imagine, to look at this 
small insignificant town, that it was the site of the 



f J •* 


once famed city, the birth-place of Nero and 
Caligula, abounding in luxury, wealth, and mag- 
nificence, and into whose port, vessels brought 
their riches from all parts of the then civilized 
world. There are still remains, in the sea, of the 
famous mole built by Treyan, and which, from the 
slight relics that still remain, give an idea of its 
immense strength and greatness. All these ob- 
jects combined together in one view, the splendid 
effect of the broad blue ocean, a vast mass of 
bright azure, bordered by a picturesque shore, and 
spotted here and there with massive remains of 
Roman antiquity, which, from the reflection of 
the afternoon’s sun, assumed that rich golden 
tint so peculiar to the south, gave such an effect 
which I shall never forget. We then proceeded 
leisurely to Nettuno by a road bordering the bay, 
lingering to view the beautiful effects which the 
island, or rather promontory of Circe assumed as 
the sun sank lower, or sketching Nettuno as it 
presented itself in different points of view. I am 
surprised that the scenery round the bay has not 
been more represented by landscape painters : 
what fine subjects there are for Callcott, Collins, 
or Turner ! We had remained so long on our 
road that we did not arrive in Nettuno until the 
sun bad set ; but we had just time to look about 
the town, which, with the exception of the pic- 
turesque costume of the women, and its fortress, 


has nothing particularly remarkable in it. Having 
retired to rest at the locanda, we rose next morn- 
ing at four o’clock, and set off for Albano, where 
we arrived about half-past twelve, after a very hot 
ride of twenty-four miles ; and after dining, set off 
in a voitureto Rome, which we reached at seven 
o'clock in the evening, having performed a jour- 
ney which very few make, as it cannot be done 
without going on foot, and is not unattended with 
danger. 

THE FRESCOES OF CORNELIUS. 

In a former article we gave a brief sketch of the 
life, and a description of some of the works 
of Peter Cornelius ; we propose now to point out 
the peculiar qualities of his genius, and its pro- 
ductions. In doing this, we shall draw largely 
from the work of one of the best living writer|S|pp > }' 
Art, and who, residing in Germany, has so ^pre- 
foundly studied the peculiar forms which 
taken in that coivptry, that he has entered 
feelings from which they arise ; and he wi 
German would write in describing th< 
making us understand them while he 
the critical calmness of a judge in gr 
opinions. 

When Raffaelle Mengs, towards the 
of last century, sought to revive the 


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136 


THE ART-UNION. 


June, 


painting, the models he chose were Raffaelle, 
Correggio, and those of their time, who had 
brought the art to its highest perfection. If true 
fame has attached itself to the name of Mengs 
himself, his success at the head of a school was 
not great. The subsequent revivers of Art in Ger- 
many, in our day, have chosen, as examples, those 
who were the masters and models of the greater 
men who followed them. It is from the works of 
Giotto, Cimabue, Perugino, Fra Angelico di 
Fiesole, and the Umbrian painters, that Overbeck, 
Schadow, and Schnorr, and almost all the histori- 
cal painters of modem Germany have drawn their 
inspirations; and they wish to reproduce the 
simplicity, the mystic grace, the quaint antiquity 
with which those masters strove to express their 
religious feelings as well as their genius. They 
have also sought to imbue themselves with the 
taste and style of Italy ; and we recognise nothing 
German in their works. 

Cornelius has never yielded to the prevailing 
style ; he has preserved an independent manner ; 
his thoughts and their expression are national and 
individual ; his genius, severe and bold, presents 
in his works the nerve, the power, the mqjesty, 
which we find in the remains and traditions of the 
old Byzantine style. These, his ardent imagina- 
tion has combined with the movement, and much 
of the never tranquil character, and the exaggera- 
ted colouring which marks the epoch of the 
decline of Art; he combines the two extremes, 
the beginning and the end. But the defects of 
colouring seen in many of his works, are not 
always, or often, attributable to himself ; for the 
greater part of the frescoes designed by him are 
executedby bis scholars : such is the plan followed 
out by almost all the fresco painters of Germany, 
and most of all by Cornelius. To this cause also, 
I believe we may often attribute errors, observable 
in the drawing, and exaggeration in the expression, 
which sometimes spoil the beautiful and philo- 
sophical inventions of the master. Mind is the 
peculiar province of Cornelius ; all the highest 
part of painting, which consists in embodying 
fine and deep thoughts is especially his , and there 
is meaning in his compositions that render them 
worthy studies for a thinking man. Cornelius 
has twice visited Rome ; he describes the effect it 
had on him as a new birth in his artistic life : 
his genius led him, it will easily be supposed, to 
study Michael Angelo more than Raflfaelle. He 
left there some cartoons, the subjects taken from 
Dante, which breathe a fresh, early beauty com- 
bined with spirit and character. Cornelius did 
not extend these cartoons, they were finished and 
executed by M. Veit, and the style of the work 
was quite changed. He returned to Rome at an 
after period, when the painting of the Ludwig- 
skirsche (church of St. Louis) was committed to 
him by the King of Bavaria, saying, that it was 
only at Rome his mind could be prepared for the 
work, and that there only he could compose the 
cartoons. It was in 1820 that he received the 
king's commands to adorn with fresco painting 
a part of the Glyptotheca : this part consisted of 
three halls in the centre of the building, One wing 
being appropriated to the collection of Grecian 
marbles, the other to those of Rome. The very 
thought of the presence of these remains was 
sufficient to crush an artist unless it inspired him. 

The whole subjects were to be taken from 
classical antiquity, and the mythology of the 
Greeks and Romans. Cornelius has arranged his 
compositions in the following manner:— In the 
first hall are the gods, in the last, the heroes of 
antiquity ; but he has in the latter confined him- 
self entirely to Grecian history, or rather poetry. 
Between these two halls, is the third of smaller 
dimensions ; and here Cornelius has placed Pro- 
metheus, a link between heaven and earth. The 
roof of the hall of the gods is divided into four 
compartments ; on each are several zones; on the 
highest, which forms the centre of the roof, 
Cornelius has represented Love presiding over 
the four elements, thus expressing the idea of the 
ancient Greeks, which attributed to Love the orga- 
nization of chaos. 

The manner in which the cosmogonal symbols 
are expressed is curious, with their correspond- 
ences. In the compartment opposite to the win- 
dow, Love rides on a dolphin, indicating the 
principle of water ; a season corresponds to this 
element, it is spring ; an hour, it is the dawn. 
The history of Aurora is most charmingly com- 


posed ; on one side she is seen rising, preceded by 
the morning star, leaving her husband, Titon, and 
her son, Memnon, still asleep. On the other side 
we see her imploring from Jupiter the gift of im- 
mortality for her lover. These two pieces, the 
last especially, are of such beauty and expression, 
that these are felt in spite of the purply colouring. 
In the compartment to the right. Love is sitting, 
holding the Olympian eagle, which has the thun- 
derbolts in its claws. This is the principle of 
fire: to this, corresponds the hottest season, and 
the meridian hour of the day. Apollo is conduct- 
ing the chariot of the Sun, and presiding over the 
summer. To the right are represented the me- 
tamorphoses attributed to bis power, which have 

S iven names to some of our fairest flowers. The 
ivision below the window, gives us Love with the 
peacock, the sign of the air, autumn and evening. 
Evening is represented by Diana, in her car, 
drawn by deer, passing among groups of lovers. 
This part of the work, is indeed, a morsel of most 
rare elegance, painted, it is said, entirely by Cor- 
nelius himself; here his genius offers us some 
of the soft attractions of a virgin, but through 
them pierces now and then the more austere grace 
of a matron. To the left Diana recompenses 
Endymion, to the right she punishes Acteon. 
In the fourth compartment, Love playing with 
Cerberus, indicates the creation of the earth ; 
Winter and Night form their train. Night holds 
in her arms Sleep and Death ; she sits in her 
car, drawn by owls, and the nocturnal hours ; at 
each side are the subterranean divinities, who 
preside over men's destinies, and make them feel 
their occult influences. 

All these small figures in the roof, contrast, 
by their dimensions, with the great ones on 
the walls, and recall the paintings with which 
Primaticcio has adorned the roof of the palace of 
Gonzaga, at Mantua. We cannot describe so 
minutely as we should desire the other parts of 
this ball ; we can merely indicate as to the compo- 
sition, that under the compartment of water and 
Aurora, we have on the walls the kingdom of 
Neptune ; under fire and Apollo, that of J upiter ; 
under night and the earth, that of Pluto. Over 
all the part of the walls representing the still 
reign of Pluto, we cannot but notice the wonder- 
ful character of languor and dead ness that is 
expressed ; Orpheus is striking his lyre, and the 
stone of Sysiphus and the labours of the Danaidre 
are for the moment suspended ; but over all, there 
is a want of energy and life that has a most 
peculiar and imposing effect. The colouring is 
uneoual, as if it were the work of many different 
lianas, but the light and shade are finely dis- 
posed. The throne of Pluto, representing the 
power of Death, is enveloped in darkness. We 
are compelled to psss over the other paintings in 
the hall of the gods ; and in that of 14 heroes, 4 ’ 
we shall perhaps give more pleasure by describing 
one composition, than by naming the designs of 
all. The piece we select, is the last of the series 
describing the Trojan war: it is most striking in 
itself ; and on none of the walls do we find the 
rich invention of Cornelius more displayed, nor 
the expression of it so much injured by the man- 
ner of the execution. We do not say we have 
seldom seen a more beautiful composition; but we 
have seldom seen one so powerful, it is something 
you can never forget. 

In the midst of a vast space Hecuba is seated, 
her family murdered around her ; Troy in ashes. 
All the grief gathered on her head seems to be 
changed into fatuity. Death has counted all her 
defenders ; Priam lies dead at her feet ; the base 
of a tragic pyramid, of which Cassandra prophesy- 
ing with streaming hair forms the apex. Neopto- 
lemus, standing on the body of Priam, holds 
Astyamex, whom he is ready to throw against the 
walls. Andromache, who should have better 
known how to defend her son, falls senseless 
at his fe^t. Menelaus seeks to bear from He- 
cuba her daughter Polixena ; while Agamemnon 
would seize Cassandra as his prize ; but she, pro- 
phesying, proclaims to him the disasters which 
await him after his victory. The other heroes are 
drawing lots for the spoils of Troy ; while Helen, 
the cause of so many miseries, sits devouring her 
grief at the foot of a column. Eneas is seen bear- 
ing from the flames his father and son, destined 
in another land to found another Troy. 

Now, let us imagine what would be the effect of 
a composition like this, painted by Rubens, 


Tintoretto, or even in our own times, by P. Dels* 
roche or Hayez. How should we be thrilled with 
horror in witnessing these scenes ! We should see 
the dead, we should hear the cries of the living, 
we should be spectators of the intoxication of 
victory, and all the terrors of war; blood and 
flames would stream around us. But as it appears, 
the want of true colouring and life, gives a cold- 
ness to the whole, and the harmony, which is the 
result of a fine feeling of colouring is wholly want- 
ing. There is also, sometimes, exaggeration in 
the drawing, as well as in the expression. The 
body of Priam is of immense length, that of 
Neoptolemus is impossible. In many of these 
figures we recognise the manly simplicity of the 
old Byzantine style ; but there is also far too much 
of the exaggerated movement and ambitious 
colouring of the last period of Art. In short, you 
are enraptured with the thoughts and composition, 
but the execution often wounds you, or leaves you 
indifferent. When the works in the Glyptotheca 
were finished, they obtained the approbation of all 
Germany, happy to find a thinker in a painter. 
In 1825, the painting of the Ludwigskirsche 
(church of St. Louis) was entrusted by the king 
to Cornelius. Its architect, M. Gartnaer, was 
happily endowed with a mind suited to the genius 
of the painter, and the frame he prepared was 
well adapted for the work of Cornelius. 

He had made many studies from the Cathedral 
of Bamberg, one of the finest monuments of the 
German middle age ; and he now adorned and pre- 
pared the church of St. Louis with ornaments 
purely architectural, well adapted to enhance the 
works of Cornelias. He has given relief to 
the nave by a grey tone, from which the curves 
and nerves of the arches come out in wanner 
colours, while the vaults of the roof not destined 
for painting are ornamented in the old manner, an 
azure ground with stars. The parts of the church 
prepared for fresco painting, were the immense 
walls from the bottom of the choir to the end of 
the transepts, the upper part of the Latin cross, 
and four vaults of the ceiling, those of the tran- 
septs, that of the choir, and the part between. 
Cornelius has arranged bis composition as follows : 
The three walls are devoted to the mission of 
Christ ; three of the vaults to the kingdom of the 
Holy Spirit ; and the vault of the choir to God the 
Father. The idea of the Trinity is everywhere 
present in the inventions of Cornelius m this 
I church. The mission of Christ commences with 
the adoration of the magi, and, except the Last 
Judgment, ends with the Crucifixion. This last 
composition is very grand, and it is executed by 
Schlotthauer in a firm .broad , and grave manner, dis- 
playing much knowledge of Art. In the vault of 
the choir is represented God the Father, Creator, 
and Preserver of all things ; on either hand are 
Michael as the destroyer of evil ; and Raphael, as 
the messenger of divine grace, typifying the two 
principal acts of Providence. The kingdom of 
the Holy Spirit represents its influence as shown 
in the history of the church ; on one side, apostles, 
martyrs, prophets, evangelists, doctors, and 
founders of orders ; on the other side, as types of 
all the elect, are kings and virgins. All the figures 
in the part of the painting devoted to the King- 
dom of the Holy Spirit, appear to us the grandest 
inventions of Cornelius. The character of all is 
that strong and pure faith belonging to the primi- 
tive times. It is true, some are close imitations, 
almost copies of the old Byzantine style ; but to 
do this, as these works are done, proves the pos- 
session of those rare gifts which nature only be- 
stows on some of her most favoured organizations. 
The great work, however, of this church, is the 
Last Judgment, occupying the vertical wall of 
the choir ; and we neea not point out to the reader 
how beautifully all these different parts of the 
work conduct to one another, and are combined. 
The Last Judgment meets the eye on entering 
the church ; on each side, on the vaults, are seen 
the crowds of the blessed, in the guidance of the 
Holy Spirit ; and on the vault in the centre of the 
choir, Jehovah presiding over all. While the 
Last Judgment presents the explanation of the 
mission of Christ, and its completion, the other 
two walls represent his life on earth. In the 
Last Judgment, Cornelius seems to have taken 
the elements, as is were, of Michael Angelo’s style, 
which, in its unpolished vigour, recalls the Byzan- 
tine manner. In the Chnst, Cornelius seems to 
hye had in view a grand and terrible represen ta- 


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1842 .] 


137 


THE ART-UNION. 


tion of the Saviour, which is seen in some old 
cathedrals, built before the thirteenth century ; it 
is seen in the apsides of St. PauPs, without the 
walls at Rome, and it is also to be found on the 
medals of one of the Constantines, recently pub- 
lished by M. Saulcy. This sublime Christ, 
robed in antique drapery, the knees marking 
bold angles, the ri$ht hand raised, two lingers 
only open, and holding with the left hand, on his 
knees, the Liber Vitae preserves strongly the 
Jewish type, and yet recalls the Jupiter of Phidias. 
With this image Cornelius has sought to combine 
the milder attributes of Jesus, and also, he has 
changed the attitude. The result is a figure ex- 
pressing benignity and calm majesty. We cannot 
describe, as it merits, this great picture, any more 
than we have been able to note the immense series 
of compositions which cover the walls and the 
vaults ; we may mention only two episodes in the 
Last Judgment: the first is considered, at Mu- 
nich, the master- piece of the school of Cornelius. 
It is composed of five figures, two are bishops, 
the other three, a woman and two men ascending 
te heaven with the rapture of the blessed on their 
countenances. The other admired group, is a 
woman seized by a demon ; she looks imploringly 
to an angel, and so finely is the expression of 
compassion in his face depicted, that we feel as- 
sured she is saved. 

We feel how imperfect is this account, and 
therefore how little just to the artist. Taking the 
whole, we prefer the frescoes of the church of St. 
Louis to those of the Glyptotheca. They present 
more of the fine qualities and fewer of the defects 
of Cornelius. We cannot conclude, without nam- 
ing, as they well deserve to be studied and ad- 
mired, the illustrations of the Niebelungen, by Cor- 
nelius, full of fine invention, and designed with 
such force and simplicity, and so much of German 
character. We have tried to convey to the reader 
what are the prominent qualities of the gneius of 
Peter Cornelius : these will, of course be differ- 
ently appreciated, according to the tone of 
mind of those who study his works ; but, perhaps, 
only when the varied feelings and excitements of 
friends and rivals, national and individual, have 
assed away : shall an artist like Cornelius receive 
is just award, and take his merited place what- 
ever that may be. The glare of popular applause, 
the mists of ignorance and prejudice, alike disap- 
pear when we enter the calm regions of the past, 
and the slow gathered voice of ages stamps a judg- 
ment that chauges no more. P. 


THE ARTS IN CONTINENTAL STATES. 

ITALY.— Rome, 1842.— Notes of a Traveller . 
— One of the great pleasures certainly that Home 
offers to a stranger, is to visit the studios of the 
many artists of all nations congregated here. Our 
attention is particularly directed to the sculptors 
Thorwaldsen, Tenerani, Finelli, Rinaldi, Tadolini, 
Gibson, Wyatt, Macdonald, Crawfurd, Wolf, 
Fogelberg. What rich treasures of art testify the 
genius and labours of these men. Thorwaldsen, 
embracing every varied subject, from Jason, to 
the Hautenstaufen Conradin, Adonis, and the 
battles of Alexander ; Christian and biblical sub- 
jects, Copernicus, and the horse of Poniatowski. 
Tenerani’s pure creations— the lovely Psyche, the 
wouuded Venus, the mischievous God of Love, 
and last and best of all his works, the ‘ Descent 
from the Cross/ which only requires a few finish- 
ing touches. Finelli, so powerful in every branch 
of his art : Rinaldi, the Professor of the Academy 
of St. Luca, so celebrated for his 4 Sybilla/ and 
for his 4 Joan of Arc/ commissioned by the King 
of France. Laurence Macdonald’s studio is a 
particularly interesting one, as well from the 
masterpieces of invention it contains, as from the 
immense number of well-executed busts we see 
there. He is particularly happy in likenesses: 
you meet all your acquaintance, but well as they 
are represented, the thought will pass through the 
mind, how few faces bear the severe test of Sculp- 
ture. 

Bearing some relation to the number of ar- 
tists are the number of living models at Rome, 
and yet there are complaints of the want of beau- 
tiful female ones. The place of the most cele- 
brated in former years — Victoria of Albano and 
Sabineria Fortunata— has never been supplied. 
The latter became the wife of an artist, and is 
now an elegantly dressed lady, whom I often 


meet ; — still beautiful, though her features are not 
faultless, nor even very regular. But, notwith- 
standing these complaints let it not be thought 
there are here few beautiful forms and characte- 
ristic heads, such as best serve the painter and 
the sculptor ; they are inexhaustible, especially in 
the towns near Rome : in Rome itself the popula- 
tion is mixed, and often sunk in poverty and 
squalor. Of male models, the Piazza di Spagna 
presents many a group, lying down or sitting sun- 
ning themselves on the steps of the stairs of the 
Trinita de* Monti . Here are the bandits, the pi- 
pers, the Apostles, that have served for many a race 
of artists, and will do so probably for many more ; 
for their lives are such easy ones, awaiting the call 
of the artist, heedless whether success crowns his 
efforts or not— whether they are well or ill repre- 
sented. so only that the required payment finds 
its way into their pockets ; indeed, the only won- 
der is that their happy existence does not tempt 
so many others to the same way of life that they 
must end in devouring one another. We have 
noticed especially an often-painted bandit, with 
long carefully-curled ringlets ; a magnificent old 
man, with hair and beard snow-white and of great 
length — a most ragged prophet and Apostle ; two 
lovely little boys, often introduced as taking care 
of cattle, with lambskin caps and peacock's fea- 
thers— little miniature “ pifferari.” How many in- 
teresting recollectionsandtraits of thedistinguished 

men to whom they have sat — the birds of passage 
of some seasons in the one rallying ground of all 
artists — might these persons give could they fur- 
nish us with all they might have observed. What 
relates to the obscure and laborious days of a 
great man is always to us far more interesting 
than the anecdotes that belong to his successful 
and brilliant period ; and many a man of genius 
has, and does, obscurely labour in that city, which 
still exercises so powerful an influence on all who 
have one spark of intellect of a poetic kind. 

Naples. — Antiquities. — A most interesting 
discovery has been recently made, in the country 
round Pausilipo. At a considerable distance from 
it, to the west, opposite Nesida, a part of a fluted 
pillar of cipoline was observed protruding from 
the earth : the manner of the chiselling and the 
forfn of the pillar gave indications that it was of 
the best style of Art ; and further observation on 
the 6pot of some remains scattered here and there 
of houses 44 laterizate’’ and “ reticolate’’ led to 
a belief that excavations at this place would lead 
to important discoveries. The design of the ex- 
cavations was immediately made, and the works 
commenced, and they have well rewarded the 
undertakers. A magnificent theatre has been 
opened, a half larger than that of Pompeii, an 
odeon opposite to it, and a portico towards the 
sea, which probably belongs to some magnificent 
villa. It is believed, from various circumstances, 
that these buildings, the theatre and odeon, formed 
part of the villa of Lucullus or of Vedius Pollio ; 
but to whoever it belonged, it was certainly one of 
those of delicious villas where the masters of the 
world called around them every luxury and enjoy- 
ment. The aqueducts display the usual grandeur 
of Roman works. A large room is .also opened, 
which seems to have been a trinclinium, or per- 
haps a part of a temple. Many marbles have been 
found, and on the 13th of January, near the odeon, 
a statue was disinterred, about half the size of 
life; the head and arms are wanting, but the 
sculpture is of the highest character of Art ; and 
none who have seen the Greek marbles now in 
London will hesitate to regard this statue as a 
Greek work of the best epoch ; there is the same 
sublime style and manner of the folds of the dra- 
pery, which would justify the name of Phidias 
being inscribed on it. 

One of the great works in this country which 
testify the Roman power is the Claudian aqueduct 
(“ Acquidolto Claudio ”) : it was constructed to 
convey the water of the celebrated “ Piscina 
Mirabilef to supply the fleet of Augustus sta- 
tioned in the port of "Miseno. The distance is 50 
miles from Sarino to Miseno, through hills, val- 
leys, and plains, all compelled to yield to the will 
of man. For nearly 20 centuries this aqueduct 
hase been inoperose, and in many places the ves- 
tiges of it are almost effaced. About 280 years 
ago, Tavolario Lettieri had visited and described 
it : it has now again become the subject of re- 
search. The architect Felice Abate has examined 
the whole course of the aqueduct, and has pub- 


lished a memoir, with an exact description of its 
present state, and pointing out how it might still 
be made available by means of some reparations. 

FRANCE. — Paris. — Monument to Marshal 
Moncey. — A project for a monument to the me- 
mory of Marshal Moncey has been presented to 
the section of the fine arts, by M. Pigeory, archi- 
tect. This plan consists in removing from the 
Barrier de Clichy, the scene of the last warlke 
exploit of the Duke de Cornegliano, the edifices 
which encumber it, and placing in front of the 
two iron gratings which open on the Rue d Am- 
sterdam, m the midst of an oblong spherical space, 
a statue of the Marshal. 

Worthy of Imitation. -—The bronze casters of 
Paris had a general meeting on the 25th of Ajinl, 
for the new arrangements of their bureau. M. Gas- 
tanibide has been re-elected president. At the 
same sitting, the masters g ive prizes for drawing 
and sculpture to some of their young workmen. 
The first prize a silver medal and a silver case of 
mathematical instruments, was awarded to the 
student Kevillon, chiseller ; the second prize, a 
silver medal and a book in the saving-bank, to 
Irle, also a chiseller (the book in the saving-bank 
includes a small sum deposited there, but which 
we believe cannot be immediately withdrawn). 
Four bronze medals were also given. It were most 
desirable such encouragements to industrious 
youth were given in other branches of art and 
industry. 

Marshal Clausel.— April 23. At present, when 
the death of Marshal Clausel excites so much 
interest, we may recall the following circumstance 
of his life as connected with art. Towards the 
close of the year 1798, Adjutant- General Clausel 
was charged to receive the abdication of Charles 
Emanuel IV., king of Sardinia. He discharged 
this mission with so much delicacy towards the 
king, that the latter, as a mark of esteem, pre- 
sented to him the celebrated picture of ‘ f lhe 
Woman in a Dropsy/ by Gerard Dow. The 
general did not retain this precious gilt for him- 
self; but sent it to Paris a present to his country. 
It was immediately placed in the gallery of the 
Louvre. 

Necrology. — Aguado. — We have to announce 
the death of M. Aguado, at Paris, one of the 
greatest amateurs of painting of our day, and the 
possessor of a most splendid gallery ot Spanish 
and other pictures. We trust his son inherits 
with his large fortune his father's love of art. 

Mr. Rapatel, a young and very clever sculptor, 
nephew of the General Rapatel, was killed among 
the other victims in the dreadful accident on the 
railroad to Versails. 

Acadtmie des Beaux Arts. — M. Gauthier has 
been elected a member of the “ Acaddmie des 
Beaux Arts,” of the section of architecture, in 
the room of M. Gudnessin. 

Versailles. — Hall of Constantine.— The new 
historical gallery in this palace, painted by M. 
Horace Vernet, is now opened, and crowds of 
visitors from Paris daily throng there. It is 
called the “ Hall of Constantine, and the paint- 
ings are intended to commemorate the triumphs 
of the French arms during the first ten years of 
the reign of Louis Philippe. The number of 
pictures is fourteen — seven .large pictures and seven 
smaller ones. All are executed with that poetic 
and picturesque spirit which gives such an in- 
terest to every work of M. Horace Vernet, no less 
that the clear.intelligent style which is the seal of 
this artist ; a merit which makes his pictures 
understood, and to a certain degree appreciated 
by all. Of the large pictures, three of the * Siege 
of Constantine ’ have been already exhibited ; of 
those never before seen bv the public, the * Battle 
of the Habrah/ is one of the roost impressive. 
The landscape presents the rich and peculiar vege- 
tation of Africa, and is very beautiful ; the ele- 
gance of the forms of vegetable life, and the 
tranquillity of the spot, contrasting strikingly 
with the terrible scenes of war represented. In 
the 4 Taking of St. John dUlloa/ we have all the 
details of marine warfare, given with great exact- 
ness, and an interest attached to them, which is 
one of the strongest proof of M. H. Vernet s 
genius. 

Marseilles. — PugeVs Monument. — A co- 
lossal statue is to be erected here to the memory 
of Puget, the celebrated sculptor. It is to be 
placed at the Prado. 


138 


THE ART-UNION 


[June, 


ROYAL COMMISSION OF FINE ARTS. 

We had, in our last number, the pleasure of com- 
municating to our readers the plan adopted by 
the Royal Commission, as the first step towards 
promoting and encouraging the Fine Arts, with 
immediate reference to the decoration of the New 
Houses of Parliament. Viewed simply as re- 
gards the object thus strictly limited, it is a 
matter of extreme interest ; but when we con- 
sider the influence it must exercise, not only as 
regards the introduction of architectural decora- 
tion, but the promotion of the highest tenden- 
cies of Art, the announcement of the Royal 
Commission assumes a character and an import- 
ance, far beyond what otherwise its transitory 
nature might possess. The acts of an individual, 
however exalted his position, with whatever 
greatness of intellect he may be endowed, and 
powerful, whether combined or directing the 
passions, and ambition of men, can affect society 
but to a limited extent ; he is borne along by the 
current of opinion, which obliterates the track of 
his career, as the restless force of ocean destroys 
every vestage of the mighty armaments which 
sweep over its expanse. But the principles we 
inculcate, the truths to which we give utterance, 
the thoughts that we encourage, have an efficacy 
which, unheard, unseen, mingles as it were with 
the universe, and unrolls in mighty graduations 
the spiritual influence of the Eternal Cause, upon 
the immortal mind of man. And in a country 
such as this, where the people, although ever apt 
to canvass and debate every occurrence, yet re- 
flect so much the prevalent opinion ; where sys- 
tems once adopted are so firmly retained ; 
any truth, principle, or maxim that is 
enounced, every system that is established, 
exacts an attention in proportion to the 
interests it may regulate, destroy, or extend. 
We propose*, therefore, to consider the probable 
result of this patronage and encouragement of 
the Fine Arts, by the state, not as regards indi- 
viduals, but as concerns the nation, in its prin- 
ciples, but not in its details. There are men who 
assert that the object of the Fine Arts is merely 
pleasure, that they are but the handmaids to 
wealth ; attributes of luxury, and ministrants to 
the enjoyments of opulence and ease. Even in 
this respect, they possess a refinement, which has 
an influence in conducting the mind to intellec- 
tual pleasures, or restraining it from those indul- 
gences to which the luxurious and the indolent 
are inclined. Considered as a pursuit, the 
t more they are advanced the more sociable do 
men become ; they cannot exist without a general 
degree of culture, they are a part of the spirit of 
the age ; and as they tend to animate exertion, 
encourage knowledge, or minister to industry 
they increase happiness ; by enlarging those 
! powers and faculties with which, for the highest 
' moral purpose’s, we arc endowed. Nor do they 
exist alone ; whatever perfection they attain is a 
sign of general progress ; of advancement inse- 
parable from knowledge J of condition remote 
i from debasement. To say, they have chiefly 
flourished in countries where public morals have 
| been the most degraded, is to show there was 
; a sufficient moral left to permit their appreciation. 

1 The supremacy of the Italian in the imitative 
i Arts, does not account for his political degeneracy ; 

nor is the corruption of Rome to be ascribed to 
1 luxury and the Arts, but rather to ill-managed 
governments, and the unlimited extent of conquest. 
But are they not subsidiary to education ? Edu- 
i cation does not consist in the course of study 
pursued at an university ; it is not the routine of 
| a tutor, the system of Genlis and Rousseau, it is 
I of the eye as well as of the ear ; the insensible 
action of time, the impression of opinion gra- 
dually acquired, and the result of experience, 
circumstance, onel truth. And does not the pic- 

I ture instruct ? Is not the artist — 

“ Copying with awe the one Paternal mind,’* 
a moral teacher ? has religion no influence in the 


energy of Michael Angelo ? is there nothing 
elevating in the compositions of RafFaelle ? 

The first association of painters was at Flo- 
rence ; and their motto was “ Levar di terra al 
ciel nostro intelletto” — to raise the spirit, mind, 
from earth to heaven. If the beautiful mytho- 
logy of the ancients possessed the power of a moral 
creed, its existence at least depended upon the 
creations of Art ; and in what manner was the 
early history of Christianity transmitted to the 
uneducated mass of its adherents ? By the 
types, forms, impressions, symbols of Art, de- 
picting alike the mercy which descended to save, 
and the faith which aspired to ascend. When 
we have learned to respect the creations of in- 
tellect, we have advanced in the cultnre of our 
own : the honours that have been paid to the 
great men of the past ; the long glories of the 
Italian school, are the silent homage of the hu- 
man mind, to qualities we feel elevating to the 
imagination, and becoming the attribute of 
reason. But since the mind is not so much 
governed by the hourly influence of philosophical 
deduction, as by a multitude of minor causes, of 
feelings suddenly awakened, or ideas most familiar 
to the circumstances of daily life, let ns consider 
the Arts, with respect to their utility in the forma- 
tion of a pure taste. Whether taste be a distinct 
faculty, or a mode of judgment, has been a 
subject of much controversy. It may be consi- 
dered as feeling and judgment combined, and 
directed either to the consideration of sensible 
images or ideal creations ; the firet being con- 
sidered as Art, the second as Literature, includ- 
ing under these divisions Poetry, Eloquence, 
Painting, Sculpture, and Architecture. Now 
these Arts are distinguished from the mecha- 
nical, by this — their end is not directly utility, 
nor, strictly speaking, instruction ; but to mi- 
nister to the pleasures of the imagination, and 
thus indirectly to create a niceness of discrimina- 
tion and a delicacy of feeling, which largely 
assist and develop the conclusions of reason. 
And when we reflect upon the power of the ima- 
gination, that it ‘gives existence to the ideal, 
transfers us to scenes the most distant, or ap- 
proximates the most remote, that its visions are 
forms of the beautiful, and that — 

** the glHd impulse of congenial powers. 

Or of sweet sound, or fair proportioned form, 

The grace of motion or the bloom of light, 

Thrill through imagination’s tender frame;” 

and while it aids the inventive power of the 
poet, that it leads the philosophical inquirer, or 
by realizing another’s situation awakens the mind 
to the consideration of relative happiness or 
want ; surely we cannot underrate its influence as 
a power of the mind, but aim sedulously at such a 
cultivation of it as may most contribute to the for- 
mation of what is pure, virtuous, and estimable 
in human character. The only means to obtain 
a pure taste, to educate and guide the imagina- 
tion, more particularly as regards the Fine Arts, 
is to encourage their highest tendencies— the illus- 
tration of nature and life, the eventful actions of 
man, and the scriptural truths of God. This can 
only be effected by patronage, intellectual, 
liberal, and enduring. Thus only can we 
nourish in the artist, or impress upon the public, 

** a discerning sense 

Of decent and sublime, with quick disgust 
From things deformed, or disarranged, or gross 
In species;” 

and establish such habits of practice by which 
chiefly the mind is capable not only of estimating 
the excellency in a work of Art, but of ascertain- 
ing its quality and degree. Individual patron- 
age must be variable both in its origin 
and aim. Its origin must date from the taste 
of the patron, a result dependent upon his 
intellectual powers, their education, and the 
moral government of bis mind. Tried by its fre- 
quent tendency in literature, we shall be probably 
able to estimate its value as a system when 
directed to Art. Now we choose our favourite 
author, as we do our friend, from similarity of 
habits, modes of thought, and conformity of 


feeling ; even mere intercourse will encourage the 
associations of the mind. But we change our 
opinions, both of books and men, as we progress 
in life, enlarge our experience, and improve our 
judgment. Ovid in youth, Horace in manhood, 
and moralists and Tacitus at a later period, 
exhibit the successive phases of oar literary taste ; 
and our companions are similarly selected, or re- 
tained, not only from alternations of circumstance, 
but by our different estimation of character. 
Youth revels and derives its existence from the 
present. Age enjoys the calmness of the passing 
scene, already illumined by the brighter radiance 
of the future. One addresses himself to time, 
the other to eternity, a part of which he is. Now 
patronage extended to Art, as that of the indi- 
vidual, must be liable to similar variations of opi- 
nion, it will be influenced by the same cause, and 
be exercised under equal impressions. And this 
kind of encouragement is too precarious as a re- 
ward, to be sufficiently powerful as a stimulus. 

“ The patronage of the public, 0 says Sir Martin 
Archer Shee, “ as distributed by individuals, has 
never been sufficient of itself to produce the 
higher excellence of Art in any nation. Bad 
taste, caprice, and an injudicious interference 
with the conceptions of genius, must always 
materially obstruct the advantages to be de- 
rived from this kind of encouragement ; nor 
are the subjects and occasions upon which it is i 
commonly exercised of a nature sufficiently ele- 
vating and impressive to excite all the enthusiasm 
of the artist, and call forth all the powers of his 
Art.” To know the tree we judge of it by its 
fruit ; to estimate a government we consider the 
condition of a people; to test the value of private 
patronage we examine the catalogue of an exhi- 
bition. Great and predominating ability there 
must necessarily be; but on what is it exercised? 
The portrait which most frequently ministers to 
vanity— and the small picture to enrich the 
wealthy gallery, or adorn the private house. It 
is not said this system is of itself bad ; for there 
are patrons in every land of whom men are 
justly proud, but that is not sufficient , if we 
would dedicate Art to high purposes, associate 
her powers with the sacred subjects of religion, 
or aid the progress and encourage the moral 
welfare of the social state by the exhibition 
of great actions, and the perpetuation of high ex- 
amples. This is a task for a government, this is 
the duty of a nation. “ This kind of patronage 
is (to use again the words of the President of the 
Royal Academy), the employment of individuals 
selected for the exeention of great works of 
public ornament and patriotic commemoration. 
This is certainly that exercise of patronage which 
appears to be the most worthy of a great and en- 
lightened people, which is the most splendid and 
permanent, and which, under judicious manage- 
ment, must always be the most effectual. This 
is the patronage which principally contributed to 
raise the Arts to excellence in Greece, and to re- 
vive them in eminence in Italy ; which, while it 
rouses the genius, rewards the virtues of great 
men, and gives at once refinement to the people 
and dignity to the state.” 

The arts, literature, and the drama reflect 
invariably the character of a nation. A free- 
man, and educated for the public service of 
the state, by which means the individual becomes 
merged in the mass, and is more induced to 
habits of generalization ; with senses trained to the 
perception of the beautiful by the luxuriance of 
his land, and the blended harmony of mountain, 
wave, and sky, which became a part of him and 
of his soul, the Greek created those combinations 
of excellence, which it is the ambition of the 
modern to equal, to imitate, and to possess. 
These he dedicated to the genins of his country- 
men ; and from the days of Phidias to its decline, 
Art was the expression and the image of their 
varied condition. But in its history we do not 
mark those variations of taste, that uncertainty 
of style and manner, those alternations of good 
and bad, noble and trivial, which are the conse- 


1842 .] 


139 


quence of defective principles and hesitating 
! guidance. Christian Art, nurtured in conceal- 
I ment, early deformed by types and symbols, and 
' the controversy of rude and enthusiastic minds, 

: y<* 

s “ come un bel flume 

j Che con silenzio al mar va declinando 

E se v&da, o se stia, raal ai presume," 

shed imperceptibly, under the protection of reli- 
gion, its elevating influence on the mind. At the 
command of the Pontiffs, the bidding of free 
J states, and the expressed will of successive em* 
| perors, the pictured forms which imagined 
! the truths and spiritual feeling of Christian- 
ity were variously reproduced, always with a 
| scriptural expression, more particularly in that 
favoured land, whose ideal impressions were so 
deeply reflective of the stem grandeur and pic- 
turesque trilogy of Dante. From Giotto to 
Raffaelle the history of Art is that of the highc st 
i genius dedicated to the greatest purposes : it was 
I with many an imaginative devotion, to all an 
j ambition — 

“ Which haply vulgar hearts can scarce conceive 
and as the materialism of antiquity had been 
purified by visions of truth and aspirations high, 
whose origin was in the creative beauty of nature, 
so also was its subsequent and secondary form 
spiritualized, not only by the impressions of a 
pure creed, but by the efficacy of the religious 
feeling, the eloquent proportion, vastness, and 
significant designs of Art. 

j Like exiles, who, on return to their fatherland, 
rekindle the sacred flame on the long-neglected 
altar of the protective deity, so we, so long 
estranged and alienated from that domain of 
creative and imitative excellence, now seek to 
restore the practice of those monumental works 
which cannot die, and may not be forgotten from 
the enduring evidence of facts ; — the Sistine 
Chapel, and the Stanze of the Vatican, and by the 
authority of great names — Da Vinci, M. Angelo, 
and Raffaelle. This silent worship of the great of 
old, is chiefly observable in Italy, Germany, and 
Frnnce, and In England for the first time the 
state has liberally conceded to opinion, and now 
se&s to ascertain “ whether by painting or sculp- 
ture, or both combined, the events of our past 
history, and the persons of our public benefactors, 
may not be transmitted with unimpaired respect 
to the grateful recollection of the English people." 
If this arose from admiration of novelty, or obe- 
dience to the capricious will of a momentary im- 
pulse, we should say of the promoters of this 
design, 

“ Non ragionamo di lor, ma guarda, e pas*a 
hut, convinced that it is commenced, and will he 
continued upon principles alike honourable to the 
Commission, as useful to the country, we shall 
endeavour to submit to our readers those leading 
points which appear to us mostly important as 
harbingers of future good. First, then, it is an 
appeal to the common understanding of the 
people as to the propriety of encouraging monu. 
mental works of Art, the object of which is 
to enliven without destroying architectural ef- 
fect, and directed to the illustration of great 
events. Secondly, the Commission has based 
Its plan upon a liberal and enlarged scale; 
for while it seeks to introduce fresco, in which 
M. Angelo and Raffaelle excelled, it evokes the aid 
of English artists in that branch of Art of which 
Sir Joshua Reynolds is their pride, and of sculp- 
ture, eminent by the ability of Flaxman and of 
Cbantrey, Thus it seeks to erect, by the union 
of architecture, painting, and sculpture, a palace 
becoming the state of Ari, of the nation, 
the Sovereign, and the senate, But there are 
other considerations. The end we gain, is frtv 
quently valuable in proportion ns it is the means 
to a remoter purpose. Thus if the mode of mural 
decoration here proposed be successful, it will not 
be confined to the Houses of Parliament, but as 
in Rome, in the time of Augustus, will become 
the decorative principle of the temple, the palace, 


THE ART-UNION. 

| the exchange, and the town-liall. Moreover, 
j works of this nature require, not only “ that a 
j man should be able to draw before he is let loose 
in fresco," but the preparation of the cartoon 
itself exacts that he should reflect os the critic 
of nature, and compose as the historian ; that 
he should not detect casual contrasts or minute 
appearances, but express great truths and striking 
incidents ; that he should separate that which is 
abstract, from that which is real ; and represent 
life as it is seen in nature, not as it is de- 
scribed by the philosopher, or depicted by the 
poet. Under the guidance of one eminent in 
design, many moreover must work for its com- 
pletion : thus much of energy that does not rise 
beyond a respectable mediocrity may here study 
and practise with success ; ability which now dies 
in obscurity may attract attention ; and a more 
extensive sphere for exertion will be presented to 
many who adopt the Arts as a profession. 

“ Different minds 

Incline to different objects : cne pursues 

The vast alone, the wonderful, the wild ; 

Another sighs for harmony, and grace. 

And gentlest beauty." 

By encouraging fresco, and including oil painting 
and sculpture, the Royal Commission has, thus 
thrown down every barrier that can obstruct Genius 
in her career. The profession of the Fine Arts 
should be a liberal profession, it should assist, 
encourage, patronise, and protect, not this or that 
favourite, not opinion because it is of the public, 
or judgment because it is of wealth and state, 
but merit however humble, genius however daring, 
and pursuit wherever directed, with reference to 
the intellectual promotion of Art, and the honour 
that a great name confers upon a nation. Most 
earnestly do we hope that our young artists will 
consider the patronage of Art by the state, as a 
school for the instruction of genius, and its honours 
the reward of their career ; and that without 
study, assiduous practice, unremitting attention 
to general principles and minute details, however 
superior their capacities or attainments, those 
capacities will be useless ; those attainments 
misapplied. Life will glide away in indifferent 
endeavours, and age but recal to their minds the 
thoughts of talent abused, opportunity neglected, 
and of honours they have lost, by wanting the 
ambition to win. In closing this article we must 
be permitted to add the expression of our homage, 
fervent, grateful, and sincere, to that Illustrious 
Prince, who, by his general acquirements, zeal, 
and educated taste, has not In this respect alone, 
but on every occasion, aided aud encouraged the 
promotion of religion, science, literature, aud 
Art. It was a proud ambition that made Ciesar 
the conqueror, Augustus the ruler, Napoleon the 
destroyer of kingdoms ; but it ia an ambition 
more lofty, because it is more pure, to wrest 
honours, not from the present, but the future; not 
by inscribing a name amid the conquests of war, 
but the victories of peace ; not by recounting the 
nations we have added to our sway, but the ininds 
we have won to intellectual greatness ; the intel- 
lect we have directed to improve the condition of 
man, and the hearts we have turned to Justice, 

“Grntum est.qnod patriae civem populoque dedistj, 

Si flicis, ut patriae ait idon»*us, utilis agris, 

Ltili* et belloruin, et pans rebus azemlis. 

Pliiritnum mini intererit, quiuus artibus, et quibus 

hunc tu 

Moribus instituas." 

“ Not a tomb or an Inscription," says Roscoe, 
“marks the place that received the ashes of 
Lorenzo; but the stranger who, smitten with 
the love of letters and of arts, wanders amidst 
the splendid monuments erected to his family, 
the works of M. Angelo, and his powerful 
competitors, whilst he looks in vain for that in- 
scribed by bis name, will be reminded of his g|qry 
by them ail." 


VARIETIES. 

The Dinner At the Royal Academy pre- 
vious to the opening of the Exhibition, is one of 
the most remafkable things connected with the 
arts in this country. Sir Robert Peel described 
it on one occasion in the House of Commons with 
his usual good taste ; and Sir Walter Scott, in one 
of his published letters, has given some account of 
it. But the splendour of this meeting does not 
require the aid of the hon. baronet’s elooueuce, 
nor the poetic talents of the great Wizard of the 
north. It is unique. There is nothing with which 
it can be put in comparison. Here government, 
foreign relations, the church, the law, the army 
and navy, the mercantile world, science, poetry, 
literature, and the drama, all find their represent- 
atives. Dukes, archbishops, bishops, ministers 
of state, law officers, ambassadors of foreign 
powers, heads of learned and scientific bodies, poets, 
philosophers, the civic authorities, the mayor, 
the governor of the Bank, the chairman of the 
India Company, gentlemen who have become con- 
spicuous as patrons of art, in short, all who are 
connected in any way with the greatness and 
prosperity of a great country, are called upon, by 
their presence at this festival, to acknowledge the 
influence of the Fine Arts on civilized life. Political 
opinion here becomes no bar of separation. Whig 
and Tory are found sitting together side by side, 
forming one harmonious union in aid of elegance, 
refinement, and taste. The tables are set in the east 
room, surrounded by the pictures. At six o’clock 
the president takes the chair. On his right hand 
are seated the ambassador of France, the Lord 
Chancellor, Sir Robert Peel, Lord Stanley, Sir 
James Graham, &c. &c. ; on the left the Dukes of 
Beaufort, Newcastle, Wellington, Sutherland, &c. ; 
bishops in front, then foreign ambassadors, mar- 
quesses, earls, &c. &c. &c. By the time the 
cloth is removed it has become dusk : but dark- 
ness is changed into light at the name of the Sove- 
reign, whose health is proposed as patroness of the 
Institution. The immense gas lamp is suddenly 
ignited, the pictures come into full display, and 
the whole company stand up while the national 
anthem is sung in a blaze of splendour and glory. 
During the interval between the toasts that follow, 
»he pictures are the subject of conversation. The 
Count St. Aulaire speaks the thanks of the foreign 
ambassadors with rapid fluency rather than stately 
eloquence. He congratulates himself and his di- 
plomatic brethren on being surrounded by this 
assemblage of distinguished talent. He assures 
his hearers that such is the community of genius, 
and such the neutral ground occupied by soicnoo 
and art, that persons eminent in this country are 
eminent throughout Europe ; and that in every 
quarter of the world an Englishman distinguished 
by genius find the right hand of fellowship extended 
to him, and feels himself at once in the midst of 
brethren and friends. The Duke of Wellington, 
in a feeble and scarcely audible voice, returns 
thanks for the army and navy. The Lord Chan- 
cellor speaks for the visitors. He renders justice 
to the Royal Academy for their long-continued 
and persevering exertions for the advancement 
and dignity of the Art. He tells of the exemplary 
conduct of the professors and teachers in the 
various schools, supported solely by the self-de* 
voteduess of the members of the Academy. He 
speaks of the intogrity and nohlenesa of their cause 
as matter of his own personal knowledge and expe- 
rience, and congratulates the President and the 
meeting on the prospect of the fruition of all their 
hopes, promised by the commission now sitting on 
the subject of Art. Employment, honourable em- 
ployment, will henceforward be the reward of 
study, and rising genius will have the long wished 
for field of exertion, which will mark the character 
of the age, and it is hoped will add to the glory of 
the nation. The noble and learned lord proposes 
the health of the President ; who, in his reply, ad* 
verts with much feeling to Wilkie and Chantrey, 
cut off in the full vigour of mental power before 
time and age had prepared us for the loss. He 
tells of the noble bequest of the deceased sculptor, 
by which in his death, as well as in his life, he 
prqved himself a real patriot and a true friend to 
the Arts he loved. The Royal Society, the Society 
of Antiquarians, the Society of Arts, Manufac- 
tures, and Commerce, the British Institution, are 
severally proposed and acknowledged ;and the com- 
pany disperse at ten o'clock, all highly gratified 


igitized by 



140 


THE ART-UNION, 


[June 


with the scene they have witnessed. The influ- 
ence of such a meeting as this is felt throughout 
the whole community of Art. Every student is 
benefited by the impression thus circulated. Art 
is placed on its proper elevation, and each indi- 
vidual is thus bound to support, in his own cha- 
racter, the honour and dignity of the profes- 
sion. When we know that the Royal Academy 
has supported national schools for every depart- 
ment of Art ; has opened its rooms for the exhi- 
bition of the works of every candidate for fame ; 
has aimed at placing the arts of England on a 
footing of honour and dignity equal to the most 
renowned a^es; and that all this has been done 
by the exertions of its members, unaided by Go- 
vernment. we cannot but think the public owe a 
large debt of gratitude to this noble establishment, 
and we do not envy those persons who would de- 
preciate its benefits, or abuse the public ear with 
calumnies to its prejudice. 

Her Majesty’s Bal Masque. — The occur- 
rence of a Masked Ball within the walls of a British 
Palace is a novelty of considerable interest, and 
one which the resources of an aristocracy may im- 
prove upon at some future period, and restore by- 
gone characters, and a picture of the times in 
which they lived and moved, with a vivid reality 
to be un-hoped for elsewhere. The study of cos- 
tume in the largest sense of the word has, within 
the last ten years, made great progress ; and the 
feeling once prevalent among artists, even of great 
eminence, that a conventional idea of costume that 
belonged to no age or country was preferable to 
that accuracy and truth that might be obtained by 
a reference (in some degree troublesome) to the 
existing relics of the age they were attempting to 
delineate, has passed away; or at least its last 
relics are lingering in slow decline among us. The 
day is, we hope, for ever gone, when Greece and 
Rome furnished the only available costume for the 
British warrior or senator, who became in conse- 
quence so disguised by it as to be alienized in his 
own land, and so al ered that his own countrymen 
could scarcely recognize him. St. Paul’s Cathe- 
dral abounds in specimens of this taste. Who 
would recognize the naked Hercules there as Dr. 
Johnson, had not the inscription beneath recorded 
the sculptor’s intention ? and how much more in- 
teresting woul-i it have been to have seen the 
rough but kind hearted old man 44 in his habit as 
he lived,” rather than in the classic one in which 
he never appeared ? The declaration that correct 
costume was not available to the artist, and was 
not sufficiently pliable for his purpose, has also 
rapidly disappeared— it was the language of indo- 
lence and ignorance. The triumphant resuscita- 
tions of ancient historic scenes by the modern 
French artists, and the successful results pro- 
duced by the diligent investigations of our own, 
have completely silenced such assertions. Still 
much remains to be done, and that it will be done 
we feel sure, for a healthy spirit of inquiry is 
afloat, and that spirit will receive not a Jittle im- 
pulse from the attention given to the subject by 
the noble and wealthy of the land, on the occasion 
of the late brilliant masque in the home of our 
sovereign. Too much praise cannot be given to the 
good taste and correct judgment exercised by her 
Majesty and the Prince Albert in the selection of 
their costume and that of their immediate attend- 
ants. The chivalrio Edward and his noble-hearted 
Queen were characters worthy of impersonation. 
Surrounded by a court all clothed in the costume of 
the household at this period of our history, the 
illusion was perfect, and the royal reality of the 
chief characters completed the charm, and fora 
few brief hours restored in vivid truthfulness the 
long-departed glories of the middle ages. It is 
not our intention, indeed it is not our province, to 
enter into a detail of the costumes exhibited on 
this interesting occasion. The newspapers and 
journals ot the day supply this in abundance. 
Neither is it our wish to criticise in an unkind or 
querulous spirit the characters impersonated; but 
we think afew words may be said, not unprofitably. on 
some few incongruities. We think that the period 
selected by her Majesty for her own costume 
ought to have been the boundary epoch of all the 
other characters ; and while this would have ad- 
mitted a great range of fancy costume of an early, 
a richly decorated, and an unquestionably novel 
character, it would have hindered the possibility of 
any thing interfering with the general air of truth I 
that would then have prevailed thioughout. We ! 


could not, indeed, help being forcibly struck on 
looking over the list of dresses in the Times, 
by meeting the names of Ali Pacha and Chaucer 
following each other, and coming in juxta-position 
with a courtier of the time of Charles II., or with 
Anne Boleyn vis-a-vis with Madame de Mainte- 
non. The Crusaders might appear with much 
propriety ; and indeed the costume of any age or 
country down to the reign of the third Edward, for 
courtiers of that age might personate earlier cha- 
racter ; but it unquestionably involves an absurdity 
when Queen Berengaria and Richard Cesur de 
Lion dance in the same quadrille with Quentin 
Durward and Anne of Grierstein, the more par- 
ticularly when they are led by the daughter of the 
Lord High Treasurer to King Charles the First. 
The extensive acquaintance formed by Queen 
Philippa and King Edward the Third on this 
memorable evening with personages who never 
existed till centuries had rolled over the graves of 
those sovereigns is really not a little extraordinary. 
But 44 time and space” were evidently 44 an- 
nihilated to make spectators happy,” and as this 
44 consummation, so devoutly to be wished,” ap- 
pears to have occurred, it may be said criticism is 
uncalled for. It, however, remains to be proved 
whether this 44 consummation” may not be effected 
without the destruction of the actual in its 
broadest principles ; nay, whether a greater 
amount of pleasure may not be elicited from the 
reflection that common sense has in no instance 
been violated, and a realization of bygone ages 
revived, upon which the mind of the scholar, the 
antiquary, and the individual supporter of each 
character may dwell with pleasure as 

44 The brightest spot in memory ’s waste.” 

The Artist’s Benevolent Fund. — The 
anniversary dinner took place, at the Freemason’s 
Tavern, on the 7th of May. In consequence of a 
domestic calamity to the house of Russell— the 
death of a younger brother— the chair was not 
taken by Lord John Russell ; his place was sup- 
plied by the Earl of Arundel, at a very short 
notice. The report supplied satisfactory evidence 
of the progress of the Institution, and we under- 
stand a larger collection than usual was made at 
the table. We regret to say that comparatively 
few of the leading artists were among the guest 3 . 

The 44 Report” of the Royal Commis- 
sion will not be issued until next month; we 
think it better, therefore, to defer all observations 
upon the subject until it is before us in its com- 
pleted state. The document, we can assure our 
readers, will not only possess the deepest interest, 
but will be highly satisfactory to artists and to the 
nation. 

Metropolitan Improvement Society. — 
This useful Association is now taking a position 
which promises to be lasting. Chambers have 
been engaged in Bedford street, Covcnt Garden, 
where a library of maps and pluns will be formed 
for the use of the Society. Sir Robert Peel has 
consented to receive a deputation from the mem- 
bers, on the subject of the general improvement of 
the metropolis (in which the Premier himself takes 
much interest), and we may speedily look lor use- 
ful results. 

British Institution Prizes. — The four 
prizes of fifty pounds each have been adjudged by 
the Directors of the British Institution to Messrs. 
Herbert, Creswick, Sidney Cooper, and Fraser; 
a distribution liable to very little objection, if it 
be not entirely satisfactory. We desire to offer 
but one remark ; this decision of 44 the Directors” 
is a vote of censure on the hangers, be they who 
they may. Either Mr. Herbert's pictures ought 
to have had better places, or they ought not to 
have been subsequently pointed out as among the 
best works in the gallery. 

Wilkie’s Sketches. — All lovers of Art will 
be gratified to know that a series of 44 Oriental 
Sketches” made by the late Sir David Wilkie 
during the important tour, which resulted in his 
lo.ss to this country, is about to be published by 
M es&rs. H. Graves, and Co. We shall next month 
give a more detailed account of this interesting 
and important work. 

Artists’ General Benevolent Institu- 
tion. — The anniversary dinner of this most valua- 
ble Institution, took place on the 28th ; the Presi- 
dent of the Royal Academy in the chair. We are, 
this month, unable to do more than refer to it. In 
our next, however, we hope to direct public atten- 


tion — and that of artists more especially— to a 
Society, the importance and value of which is ex- 
ceeded by none in the metropolis; and which 
affords immediate relief to the distressed, who have 
no other claim upon it but that of destitution. 

Artists’ Rendezvous. — Mr. George Harri- 
son, a landscape painter, has formed a class for 
sketching “out” during the summer months. 
He states that 44 having in common with many of 
my pupils had frequent cause to regret the non- 
application of their talent in drawing, or the want 
of some inducement to lead them to the study of 
nature in the fields, I am led to form a class that 
shall meet once a week for the purpose of going 
through a course of twelve progressive lessons in 
! pencil and water-colour sketching, with the appli- 
cation of perspective, &c.” The plan is a good 
one, and may be productive of very serviceable 
results. 

Royal Hibernian Academy.— The Exhibition is 
now open, and contains several contributions from 
English artists. We shall review it in our next. Mean- 
while we may observe, that we have received three or 
four letters regarding the proceedings of the committee 
of 'the Royal Irish Art-Union, upon whom here, as in 
Scotland, devolves the duty of selecting the prize-pic- 
tures, and who have, consequently, a most onerous and 
delicate task to perform. Already, it would appear, 
complaints are sufficiently rife; indeed it is impossible 
the case can be otherwise when this principle of choos- 
ing by proxy is acted upon. One of our correspondents 
states— and we do think he must be misinformed— that 
the committee have actually purchased, as a prize , a 
miniature at the price of fifty pounds. We can scarcely 
credit this, for we know that the committee consist of 
gentlemen of high honour and integrity ; but so, in- 
deed, do the Scottish committee; yet that they have 
made 44 mistakes” is matter of certainty, and is not 
denied. It will be our duty to make inquiries into this 
matter. 

The late George Barret. — We direct the 
attention of our readers to an advertisement 
printed elsewhere, which emanates from the friends 
of the late excellent painter and estimable gentle- 
man. This month, we can do no more than refer 
to it ; in our next number, however, we shall have 
a better opportunity of alluding to the circum- 
stances under which it is issued, when supplying 
some particulars connected with his private ana 
professional life. 

Elsewhere, also, we print another advertisement 
which communicates an afflicting fact. 

Sales Past and to Come.— At Strawberry Hill 
the undermentioned Pictures realized the prizes affixed 
to them :— 

4 The Portraits of Ladies Laura, Maria, and Horatia 
Waldegrave daughters of James, second Karl of W : ai- 
d-grave ami Maria Walpole, afterwards Duchess of 
Gloucester, 1781,’ Sir Joshua Keynolds, 577/. 10s.; *A 
Conversation, with Portraits or Lord Kdgecumbe, 
George James Williams, and George Selwyn,* Sir 
Joshua Reynolds, 157/. ; 4 Portrait of Margar* t Lemon,’ 
said to he by Vandyke, 78/. 15s.; * 'I he Education of 
Jupiter,’ said to be by Poussin, 78/. 15s.; * A Land- 
scape,’ said to be by Salvator Rosa, 42/. ; 4 Portraits of 
Lady Dorothy Percy, Countess of Leicester, ami her 
Sister. Lady Lucy. Countess of Carlisle ? ’ Vandyke, 231/. ; 
4 '1 he Marriage of Henry Vil. and Elizabeth of York,’ 
Maheuse, 178/. ; ‘ Portrait of Maria, Lady Waldegrave, 
afterwards Duchess of Glocester,’ Sir Joshua Reynolds, 
735/. ; 4 Portraits of Catherine de Medici and her Chil- 
dren, Charles IX., Henry 111., the Duke d’Alemon.and 
Margaret, Queen of Navarre,* Yanet, 90/. ; * Poi traits 
of Charles Brandon, Duke of Suffolk, and Mary, Queen 
of France,’ 535/. 10s. ; * An Old Picture, representing 
Henry VIII. and his Children,’ an early painting of 
great merit, name of the artist unknown, 2*20/. 108. ; 
‘Portrait of Ninon l’Enclos,’ 131/. 5s.; *A Curious 
Historical Picture of Henry V. and his Family, from 
Tart Hall, Westminster,’ 131/. 5s. 

Miniatures. — 4 Horace W’alpole,* the collector of 
the paintings and other works of Art at strawberry-hill, 
enamelled hy Zincke ? 58/. 16s.; 4 King Charles the Pint 
in Armour,* t-y Pen tot, 65/. 2s.; 4 Ring Charles (be 
Second in Armour,’ by Petiiot, 78 /. 158.: * James, 
Duke of York, afterwards James the Second,* by Petite! , 
78/. 15s. ; ‘A Miniature of Cowley,’ by Zincke, after Sir 
Peter Lely's portruit of the Poet, 63/. ; ‘ Henrietta, 
sister of King Charles Second, Duchess ef Orleans, by 
Petitot, 131/. 5s.; ‘Caiheiine Henrietta, Duchess 
d’Olone, as Diana,’ by Petitot, 141/. 15s. 

At the Sale of Sir David Wilkie’s Pictures and 
Sketches, by Messrs. Christie and Manson, the under- 
mentioned works sold for prices as affixed : — 

4 Drawing a Net,’ Chalk drawing, 15/. 15s. Tinted 
| Drawings—* A Negro, in the picture of Josephine,* 
31/. Ids. ; ‘Study for the W'hiskey Still,* 25/. 4s. ; ‘ Snr 
1 David Baird discovering the body of Ttppoo,’ a large 

S~^ T 


Digitized by VjVJijy It 



1842 .] 


sketch, 10/. 10s.; ‘George IV. ’s entry to Holyrood 
House. 10/. 10s. ; ‘ The Serenade, Seville/ 16/. 5s. 6d. ; 

‘The First Ear-ring,* 21/. ; ‘Arab Servant of the Aus- . , , . t, nn . ime xm# m nrwtc, Anm. i>»n.r 

trian Consul at Alexandria/ 10/. 10s. ; ‘Arab Dragoman/ A Sunday paper lately lent its columns, we nope From the Royal Acadt 

highly finished, 12/. is. 6d. ; ‘ Study of an Arab Family/ unwittingly, to a series of attacks on the committee } n t 0 Egypt, J. Martin, 50( 

137. I3s.; ‘On the Danube— Men 1 'ringing Stores, - excellent association, full of errors, misre- Departure of Charles 1 1, from Bentley 

12/. Is. 6d. ; ‘Two Women, Vienna/ 14/. 3s. 6d. ; ‘ The 1,1,5 excellent, iwsuciaiiuu, * Th £ Monev lender. R. M«Innes, 2001 

Porter at the Victoria Hotel. Pesth, an old soldier of presentations, and bad feeling. So certain are we Microscope, G. Lance, 150/. 

Napoleon/ ll/. 0s. 6d. ; ‘A Post Rider/ 31/. 10s. ; 0 f the implicit confidence worthily reposed in the The Cavalier, A. Cooper. R. A., 150/. 

: co^ittee by the subscribers ^era.ly that we The- 

Sheik who accompanied the travellers from Jaffa deem it quite unnecessary to attempt to correct y C e ne f rom the Vicar of Wakefield, A 
to Jerusalem/ 66/. 3s. ; ‘The Muleteer from Jeru^lem the statements put forth, or to render more appa- Highinnd Scenerv, F. R. Lee, R.A., 1 

«>• ignorance of the subject displayed by the TaM^ up Eel^ou, , 

her Child drink at a Fountain,’ 27/. 6s. ; ‘ Mr. Moore’s author of them. The extraordinary progressive, The Challenge F. P. Stenhanoff, 60/. 
Dragoman/ 30/. 9s. ; ‘ Portrait of a Circassian Lady/ a nd still progressing, increase of the association, is Devonshire Scenery, F. K. L*e, R.A. 

an eyidence of the ability with which its affairs are 

of the Hotel, Constantinople, in a Turkish Dress, conducted not easily to be controverted, and was The Traveller Tinker, G. Williams, 5 
45/. 14s.; ‘Ditto, in a different Dress/ 19/. 19s.; ‘The evidently recognised as such by the vast multi- Gravesend Reach, G. W. Rutland, 5C 
Dragoman of Mr. Colquhoun, Consul at Bucharest, tude who filled Drury Theatre at the general Sunset, A. J. Woolraer, 70/. 

Ms. ‘A Persian Frmce, ' his stave jbnupne him meeti and re3ponded with SU ch unanimity and The Market Girl, F.P. Poole. SOI. 

Daughter of Admiral Walker, in Turkish Cos! enthusiasm as they did, to every passage of the |J* Timber * ** 

tume,’ W. 10s. j ‘A Jewish Lady at Pera,’ 44 1. 2s. j report which was read, and to every resolution ^ Alehouse Door, H.J. Boddingtc 
« A Coffee Shop/ 44/. 2s. ; * A Jewish Woman/ 30/. 9s. ; which was proposed ; indeed we should not have wtiitbv Pier A. i lint, 40 gs. 

‘ A Jewish Child and Mother/ 53/. 1 Is. ; « A Jew Dra- re f erKe d even to this ebullition of spleen, did we A R j ver Scene, T.Creswick, 40/. 
goman of the British Consul teaching Children, not wish t0 pre vent misconception in the mind of On the Borders of Herefordshire, A. 

ofcameis, “fn ’.he Garten of Mr! Whiu “.ft, ?ur readers.touchiugone point in the report .which “on. ^ 

Smyrna/ 40/. 19s. ; ‘The Dragoman of Mr. Abbott, is perhaps liable to be misunderstood .we a.lude to i andsca p e * R> R . Keinngle, R.A., 60] 
Smyrna/ 37/. Is. 6d. ; ‘ Mehemet Ali/ from the recol- the formation ol a reserved fund._ The passage in ^ ftt I riagtinga A. (flint, 25gs. 

lection of a picture, 14/. 14s.; 4 The Travelling Tartar the report is as follows “ With this amount j, ceiie from the Vicar of Wakefield, , 

to the Queen’s Messenger/ 32/. lls.; ‘Three Greek (resulting from the sale of catalogues during the The Jewess, A. Geddes, A.R.A., 30/. 

EasVVndiamm off^tackwall, W. C. 

W/.*!oa. eyrOUt ’ h ' ,UlU ‘ hter ’ ttnd WOmanO U ’ to be increased herealter by the addition of all 
Sketchesin Oils— ‘D ianaand Calisto, with Nvmphs, m ° ne V s accruing to the Society, other than the St . Benedict’s Abbey, Norfolk P. W 
in a Woody Landsrape/ 48/. 6s.; ‘The Queen on Horse- actual subscriptions of the current year. By this Tired p^r^s, p j,. Poole, 32/. 
back, with several Figurcs,’36/. 15s.; ‘The Queeninher means the future stability of the Art-Union will On tiie Scheldt, H. Lancaster, 20gs. 
Robes, with a Tiara of Diamonds/ half length, 42/. ; be rendered more certain, the trustees secured Notley Brook, Bucks, J. Dearman, ! 

Three ‘ Bacchantes, with a Fawn and Group of Fruits, in with regard to prospective engagements with en- Lady Rachel Russell, H.Mj C ooper, 

a Classical Landscape,’ upright, 53/. lls. ; ‘ Small whole- Krav ers and others, which it may be desirable to Flonzel and Per dita, A -p. Coopr. 4 

length Portrait of George IV. in his Scotch Dress/ 03/.; “ d fund ’;n be Dr0 vided wherefrom Art Yarmouth, Isle of Wight, A. Vicker 

‘ Head of Talleyrand/ 22/. ; ‘John Knox administering and f a 1 tillage Oak J. Stark, 25gs. 

the Sacrament/ 84/. Is. (the heads and the principal m the abstract may ultimately be aided without T he Cobbler, J. Crane, 20 ks. 
figures in an advanced state) ; ‘ Juhn Knox administer- any sacrifice of the subscribers pecuniary in- Market Cart, S. R. Percy, 20gs. 
ing the Sacrament’ (the picture on a larger scale, the terests/* Now to this most excellent idea as thus Carisbrook Castle^ A. Vickers, 20ga 
hands and portions of the figures finished), 189/. ; ‘ Five plainly stated, who can possiblv object ? The full A Young Greek, T. Mogford, 20gs. 
Heads, part of a Design for a Picture of Samuel and amount of the annual subscriptions will be appro- L° ch Gatrine. Scotland. . J. Dobbin, 
Eli/ 54/. 12s. ; Ro\a! Portraits, whole Length ; ‘ George „n'nLr the members and vet from the Coast * at Ambh'teuse, H. Lancaster 

IV in his Highland Dress’ 105/ • 4 William IV. in his P rlated amongst the members, ana yet irom tue F | ower „ w.W. Hardy, 15gs. 

Robes/ 58/1 16s.; ‘Queei’i Adeiide, State Picture.’ interest of the money deposited, the amount of A Suffolk Errand Boy, G. G. Bulloc 

55/. 138.; ‘Queen Victoria/ ditto, 120/. 15s.; ‘Oil prizes allowed to lapse to the Society (should such “ Suffer little children to come unto i 


THE ART-UNION. 


THE ART-UNION OF LONDON. 


LIST OF PICTURES CHOSEN BY PRIZEHOLDER3 
OF 1842. 

[The Title of Picture, Artist'* Name, and Price.] 

From the Royal Academy. 

The Flight into Egypt, J. Martin, 600/. 

Departure of Charles 1 1. from Bentley, C. Landseer, 316/. 
The Money Lender, R. M’Innes, 200/. 

The Microscope, G. Lance. 150 /. 

The Cavalier, A. Cooper, R. A., 150/. 

The Watering-place, F. R. Lee, R.A., 113/. 

Inquiring for the Ferry. T. S. Cooner, 10JJ/. 

Scene from the Vicar of Wakefield, W. P. Frith, 103/. 
Highlnnd Scenery, F. R. Lee, R.A., 126/. 

Taking up Eel-pots, J. Stark, 90gs. 

Who’ll serve the Queen, R. Farrier, 70/. 


The Challenge, F. P. Stenhanoff, 60/. 

Devonshire Scenery, F. R. Lee, R.A., 120ga. 

A Scottish Dinner, A. Fraser, 60 1. 

Samuel and Eli, J. H. Wheelwright, 50/. 

The Traveller Tinker, G. Williams, 50g». 

Gravesend Reach, G. W. Butland,50/. 

Sunset, A. J. Woolraer, 70/. 

The Market Girl, F. P. Poole, 50/. 

The Timber Barge, J. Tennant, 50gs. 

Summer, H. J. Boddington, 25gs. 

The Alehouse Door, H.J. Boddington, 47g». 

Whitby Pier, A. t.lint, 40 gs. 

A River Scene, T. Creswick, 40/. 

On the Borders of Herefordshire, A. Montague, 40 /. 
Uua and the Lion. H. Le Jetine, 50gs. 

Landscape, H. Jutsum, 35/. 

Landscape, R. R. Keinngle, R.A., 50gs. 

Beach at Hastings, A. Clint, 25gs. 

Scene from the Vicar of Wakefield, A. Solomon, 40g*. 


a Classical Landscape/ upright, 53/. lls. ; ‘Small whole- 
length Portrait of George IV 7 . in his Scotch Dress/ 03/.; 
* Head of Talleyrand/ 22/. ; ‘John Knox administering 
the Sacrament/ 84/. Is. (the heads and the principal 
figures in an advanced state) ; ‘ Juhn Knox administer- 
ing the Sacrament’ (the picture on a larger scale, the 
hands and portions of the figures finished), 189/. ; ‘ Five 
Heads, part of a Design fur a l icture of Samuel and 


55/. 13s.; ‘Queen Victoria/ ditto, 120/. 15s.; ‘Oil 
Sketches on Panel*, made during Mr David VViikie’slast 
Journey: 4 A Design for ihe Nativity/ 26/. 5s.; ‘The 
Tartar relating the News of the Capiure of Acre/ in a 
very advanced state, 183/ 15s.; *'lhe Letter Writer/ 
ports very highly finished, 446/. 5s. ; ‘Ihe School/ 756/. 
— Total proceeds of the sale are 7200/. 

At the sale of a selection of Pictures from the gallery 
of R. Vernon, Esq., the undermentioned works realized 
the accompanying prices .— 

‘ A Scene from the Barber of Seville/ Stephanoff, 
37/. 5s. 6d.; ‘ View of Margate, from the Seu,’ Chambers, 
21/. 10s. 6d. ; * Return from Market/ Shayer, 29/. 

18s. 6d. ; ‘ Head of a Child,’ Uwins/ 22/. Is. ; * View of 
the Town and Church of Dort, 16/. 5s. 6d. ; ‘ A Land- 
scape, with a Mill/ &c., Stark, 27/. 6d. ; ‘ The Doge’s 
Palace at Venice/ Bonnington, 28/. 7s. ; ‘ A View near 
Readleafe/ Lee, R. A., 29/. 8s. ; ‘ The Ghost Story/ 
Livei>eege, 37/. 5s. 6d. ; ‘A ltoad Scene/ 30/. 9s. ; ‘A 
River Scene/ Shayer, 26/. 5s. : * View of Hastings/ &c., 
Creswick, 30/. 9s. ; * Don Quixote Wounded.’ 32/. lls. ; 
‘The Waggon,’ Bonnington, 32/. lls.; ‘A Woody 
S -ene in Italy/ R. Wilson, 23/. 2s. ‘ A Neapolitan Girl/ 
Uwins, 35/. 3s. Gd.; ‘The Elements/ Siothard. 28/. 
17s. 6d. ; ‘ View of the Cathedral of Abbeville/ Roberts, 
37/. 5s. 6d. : ‘ The Dose of Physic/ Webster, 48/. 6s. ; 

‘ English Nobility receiving the Sacrament from a 
Catholic Priest/ Hart, 52/. 10s. ; ‘ Shrimpers at Folk- 
stone/ Collins, R.A., 101/. 17s.; ‘Gaston de Foix taking 
leave of his Mistress/ Eastlake, 199/. 10s. ; ‘ The Battle 
of Naseby/ Cooper, R.A., 27'. 6s. ; ‘ Female Bathers/ 
Turner, R.A., 57/. 15s. ; ‘ A Fete ChampOtre/ Stotliard, 
R.A., 58/. 16s. 

May 13th. The property of John Turner, Esq. — ‘ A 
SeaShore/ Cooper, R.A., 24/. 13s. 6d. ; ‘ The passing 
Shower/ Linnell, 27/. 6s. ; ‘ A Nymph, withholding the 
Bow from Cupid/ Hilton, 77/. 14s. ; ‘ The Rabbit on 
the Wall/ Wilkie, 733/. 

Sales to Come.— Messrs. Christie and Manson will, 
on the 1st of June, dispose of Drawings and Sketches 
by Sir David Wilkie, the property of Benjamin Godfrey 
Windus, Esq. 

Mr. Phillips will, on Tuesday, 31st of May, sell a 
valuable Collection of Pictures, the property of the late 
Allan Gilmore, Esq , wherein are many rare specimens 
of the Italian schools. 


occur), and from other sources, a fund may be 
accumulated of the greatest importance to Art and 
to the nation. The establishment of a Gallery of 
British Art, the institution of periodical lectures, 
perhaps even of a professorship at one of the Uni- 
versities for its advancement, are some amongst 
the excellent results to be expected, and by which 
hereafter, we may all be benefited. The Com- 
mittee will earn our gratitude by properly carrying 
out the proposition. 

The question of immediate payment to artists 
for the pictures purchased by prizeholders has 
been lately discussed at great length in the com- 
mittee. The desire of the majority of the com- 
mittee was, that the artists should be paid forth- 
with ; but this course was found by their legal 
advisers to be incompatible with their duty as 
trustees, and they were therefore compelled to fore- 
go this wish. Payment will, however, be made iin- I 
mediately on the close of the various galleries. Be- 
fore terminating this notice of the Society’s present 
proceedings, we feel compelled to mention that 
Mr. Thomas Allom has made a very charming 
drawing of the interior of Drury Lane Theatre, 
as it appeared on the 26th April, when, by the kind 
permission of Mr. Macready, the members of the 
Art- Union of London met to receive the Com- 
mittee’s Report and to distribute the prizes. Of 
this extraordinary meeting, a detailed account 
has already appeared in our fcolumns : never be- 
fore in England was there such an assemblage 
gathered together for such a purpose. The mo- 
ment selected by the artist is the declaration of 
the prizes, and the excitement which characterized 
the sceue is well depicted. To those who had the 
good fortune to be present on that occasion it will 
form a pleasing reminiscence of the day ; and to 
those who were not, it will give a more perfect 
notion of the ceremony than anything that can be 
written on the subject. Independently, however, 
of^ts special interest, it is a very pleasing work 
of Art, and is worthy the walls or portfolio of any 
print collector. We trust it will have an extensive 
circulation, not merely amongst the members, to 
whom it will be more peculiarly acceptable, but 
amongst the public generally. 


East Incliaman off Blackwall, W. C. Smith, 25g*. 

The Broken Pitcher (in plaster), W. C. Marshall, 30gs. 
The Highland Gillie, A. Cooper, lt.A., 25g^. 

St. Benedict’s Abbey, Norfolk, P. W. Elen, 25L 
Tired Pilgrims, P. F. Poole, 32/. 

On the Scheldt, H. Lancaster, 20gs. 

Notley Brook, Bucks, J. Dearman, 27gs. 

Lady Rachel Russell, H. M. Cooper, 25ga. 

Flonzel and Perdita, A. D. Cooper, 20/. 

Yarmouth, Isle of Wight, A. Vickers, 20gt. 

1 he Village Oak, J. Stark, 25gs. 

The Cobbler, J. Crane, 20gs. 

Market Cart, S. R. Percy, 20gs. 

Carisbrook Castle, A. Vickers, 20gs. 

A Young Greek, T. Mogford, 20gs. 

Loch Catrine. Scotland, J. Dobbin, 20/. 

Coast, at Ambleteuse, H. Lancaster, 15ga. 

Flowers, W. W. Hardy, 15gs. 

A Suffolk Errand Boy, G. G. Bullock, , 

“ Suffer little children to come unto me,” r . Howard, lot. 
Cottage on Woolpit Heath, C. Ward, 15gs. 

Dorothea, H. Le Jeune, 15/. 

Portsmouth Harbour, W.C. Smith, 10gs. 

Dover, D. H.M’Kewan, 10/. 

From the British Institution, 

Charles I. and the Infanta of Spain, F. Stone, 200/. 
Landing of Jeanie Deans, A. Johnstone, llOgs. 

Coast of Yorkshire, A. Clint, 60gs. 

Cattle and Figures, W. Shayer, 60/. 

A Fairy Tale, Mrs. W. Carpenter, 60 1. 

Old English Ballad Singer, W. B. Scott, 80gt. 

Arab’s Prisoner, J. M. Leigh, lOOgs. 

Buccaneer’s Daughter, Mrs. M‘clan, 40/. 

The Young Falconer, G. Lance, 65gs. 

Scene in the Highlands, Montague and Joy, 60/. 

Dead Game, G. G. Bullock, 20/. 

Edward the Confessor’s-Chapel, Percy Carpenter, 16g». 
Windsor Castle, J. Stark, 40gs. 

A Greenwich Pensioner, H. J. Piddrag, 20gfc 
Millbank in 1810, E. Williams, 10/. 

The Ready Reckoner, R. Farrier, 10/. 

St. Clement’s Reach, G. W. Butland, 25/. 

Near Boulogne, H. Lancaster, lOgs. 

Scene in Windsor Forest, J. Wilson, 50/. 

From the Society of British Artists. 

Departure from Martindale Castle, J. F. Herring, 150gs. 
The Holme Wood, J. W. Allen, 70gs. 

Redhill, Surrey, J. W. Allen, 70/. 

Donuez moi uu son, G. Stevens, 70/. 

Peasants’ Nest, Cheddar, J. B. Pyne, 70/. 
l loughman’s Dinner, W. .Shayer, 60/. 

Consolation. E. Prentis. 50/. 

Bopparton the Rhine, E. F. Tomkins, 50/. 

Dover Harbour, J. Wilson, 50/. 

Bexley Heath, Kent, J. Tennant, 40gs. 

Blacksmith’s Shop, J.F. Herring, 40/. 

London from Waterloo-bridge, W. C. Smith, 40/. 
Sheep-washing, H. J. Boddington, c0 /. 

The Favourite flaunt, H. J. Boddington, 30/. 
Weighing liuy for the Friesland Bnats, W. Baker, 80/. 
Hungarian Shepherd, J. Zeitter, 25gs. 

.Majeuce on the Rhine, C. F. Tomkins, 25/. 
fruit Girl of North Holland, J. Zeitter, 25/. 

At Anchor on the Texel, J. Zeitter, 25/. 

A Woody Laue, near Otford, 11. J. Boddington, 25/. 
View from the Pier Rocks, A. Clint, 25/. 

* The prizeholder has commissioned the sculptor, 
we understand, to execute this in maible, an exampU 
worthy of imitation. 

Cton oV 

vTvTvTxTv 

O 



An Irish Village F$te, H. McManus, 25/. 

Music, J. Stewart, 25gs. 

Runswick, A. Clint, 20gs. 

W indsor Castle, J. B. Pyne, 20/. 

Near Canterbury, J. W. Allen. 20 /. 

Ma chere petite Saeur, R. J. Hamer ton, 20/ 

Blind Man’s Buff, H. E. Dawe, 21/. 

Fishing Boats off Staitbes, Yorkshire, A. Clint, 21/. 
Near Ditton on Thames, E. D. Smith, lOgi. 

The Cottage Window, G. Stevens, 20/. 

Tittlebat Fisher, J. Tennant. 25gs. 

1 he Mountain Maid, A. J. Woolmer, 20gs. 

An Italian Hay-cart, C. Josi, 25/. 

Interior of a Stable, W. Shayer, 20/. 

Old Weir ou the River Ouse, H. J. Boddington, 20gs. 
Reading the News, A. Montague. 20/. 

Ou the Scheldt, H. Lancaster, 20/. 

Coast Scene, Yarmouth, H. Lancaster, 25/. 
Plas-y-naut, Wales, J. B. Pyne, 20/. 

On the Normandy Coast, J. W. Allen, 15/. 

View on the Amo, F. James, 15/. 

Cattle Reposing, T. S. Cooper, 20gs. 

A Cottage Girl, C. Baxter, 20/. 

Wailing for the Tide, R. J. Hamerton, 15/. 
Fisherman’s Boys, W. Shayer, 20/. 

The Stratagem discovered, A. Solomon, 15/. 

“ Poor naked wretches,” &c., J. Stewart, 20/. 

French Fish Girl, A. J. Woolmer, 10 gs. 

A Tit-bit, J. Bateman, lOgs. 

Old Water-mill, Derbyshire, A. Vickers, lOgs. 

On the 'I hames, J. W. Allen, 10/. 

Near Maidstone, R. Hilder, 10/. 

Moonlight, J. Gray, 20/. 

A Family Group, J. Bateman, lOgs. 

The Light Guitar, A. J. Woolmer, 10/. 

A Shady Lane, H. Jutsum, 15/. 

Waiting for a Customer, J. W. Allen, 10/. 

Light and Shadow, A. J . Woolmer, 15/. 

Evening, J. W. Allen, 10/. 

Sterne’s Maria, F. Stackpoole, 10/. 

Numur on the Meuse, C. F. Tomkins, 50/. 

Sunday Morning, W. J. Boddington, 40/. 

From the Old Water Colour Society. 

Cattle Returning, J. D. Harding, 55gs. 

Fing&l’s Cave, C. Fielding, 50gs. 

On i he Grand Canal, Venice, W. Callow, 40gs. 

Coast near Hley Bay, C. Fielding, 25gs. 

Trampers getting Wood, F. Taylor, 35gs. 

The Old Adm ral and his Daughter, F. Taylor, 25gs. 
View from the Warren at Minehead, P. Dewint, 30gs. 
View of Ben Vorlich, C. Fielding, 26gs. 

Falls of the West Lynn, Devon, P. Dewint, 35gs. 
Noureddin and the Fair Persian, Eliza Sharpe, 25/. 
Gipsey Travellers, O. Oakley, 25gs. 

Lancaster, D. Cox, 25gs. 

On the Frome, at Stapleton, G. A. Fripp, 15gs. 

View fiom the Churchyard, Thun, W. Callow, 23gs. 
Scene in the New Forest. J. W hichelo, 2i>gs. 
Avranches, Normandy, C. Bentley, 15gs. 

A Rollicking Trooper, W. Hunt, 20gs. 

Barnard CaNtle, Durham, H. Gastineau, 15gs. 

Ferry on the Thames, W. Evans, 40gs. 

Waiting for the Boat, J. Whichelo, 12gs. 

View in Argyllshire, C. Fielding, 20/. 

The Highlander’s Burying-grouiui, W. Turner, 20 1 . 
View of Bolton Abbey, C. Fielding, llgs. 

View on the Thames, G. Barrett, lOgs. 

View on Loch Leven, C. Fielding, 10/. 

Ben Slarive. C. Fielding, 10/. 

Part of the Foscari Palace, Venice, J. Holland, 20gs. 
Richmond, Yorkshire, J. Varley, 15gs. 

Lake of Garda, Italy, H. Gastineau, 10g«. 

Dover Castle, H. Gastineau, 15gs. 

A Peasant Boy, W. Hunt, lOgs. 

From the New Water Colour Society. 

Tomb of the Cardinals d’Amboise, Pennon, lOOgs. 

“A health to King Charles,” J. J. Jenkins, 35/. 

The Missal. B, R. Green, 35/. 

Snowdon, T. Lindsay, 30gs. 

The Foi tune-teller. John Absolon, 25/. 

Rich Relations, John Absolon, 25/. 

Durrenstein on the Danube, W\ Robinson, 37/. 

Dover, T. S. Robins, 20gs. 

The Wanderers, J. W. 'i opharo, 20/. 

Cinderella, J. J. Jenkins, 12gs. 

On the Rhine, at Oberlenstein, G. Howse, 15gs. 
Church of St. Maclou, Rouen, G. Howse, I5gs. 

Cornin’ through the Rye, John Absolon, lOgs. 

Deer Stakers, J. P. Campion, lOgs. 

On the Alton Downs, J. Fahey, logs. 

Coast Scene, T. 8. Boys, lOgs. 

Old Barn— Watery Sunset, J. M. Youngman, lOgs. 
View near Ramsgute, H. Warren, 13/. 

An Armourer's Workshop, E. H. Wehnert, 15/. 

The Good Samaritan, E. Corbould , 29/. 8s. 

Return of Hannibal to Carthage, T. Kearuan, 30/. 

A Cottager, A. Penley, 15/. 

Italian Peasants, A. H. Taylor, 20/. 

Gate of Lambeth Palace, J. W. Archer, 12 1 . 

Oh dear, what shall I do, A. H. Tayior, logs. 


THE ART-UNION. 


CORRESPONDENCE. 

THE QUESTION OF FRESCOES. 

Sir,— A s one cordially interested in the Arts, and 
especially in the progress of English Art, I have given 
great attention to the discussions which have arisen, out 
of the project for embellishing the Parliament Houses, 
on the comparative merits of oil and fresco painting. 
It is useless to continue a controversy, the results of 
which are already decided; but I venture to avail 
myself of the only right left to those who are in a 
minority, that of entering a protest. How, with 
whom, or with what motive this fresco project was 
first started in England is a curious question ; but I 
believe, that from the time of the publication of the 
first report of the Parliamentary Committee, there has 
been a general impression among the artists, that 
Government had already decided on the adoption of 
fresco ; and that they thought it better to fall in with 
this predetermined intention than to run the risk of 
compromising the whole scheme by a nseless opposi- 
tion. That any artist possessing competent knowledge 
on the subject can really prefer the dull, husky, intrac- 
table material of fresco, to the boundless aud beauti- 
ful capabilities of the oil pencil, it is difficult to believe ; 
nor have I seen a single argument in support of the 
inferiority of fresco, which I consider to he anything 
else than a downright fallacy. Why is fresco better 
adapted (as is asserted) than oil painting to fill large 
spaces 7 The proper way to look at a picture is to 
place yourself directly opposite the centre of it; if it 
be too large to be commanded at a glance, you must 
pass from one side of it to the other ; and this is just 
as much the case with fresco as with oils. But fresco 
is lighter in effect. On what evidence? Where is 
there a fresco possessing half the lightness of effect of 
Paul Veronese’s immense picture of the ‘ Marriage of 
Canaa.’ in the Louvre? A hundred instances might 
be multiplied. To lightness, oil painting adds bril- 
liancy in which latter quality fresco is, and ever must 
be, wholly deficient. lint if this boasted quality of 
lightness be of such paramount importance, why not 
cover the walls with French paper, which would save 
a vast deal of expense, and have a very pretty effect ; 
nor do I think that we should be one jot more humili- 
ated in adopting French manufactures than in trotting 
after German caprices. The French at least go for- 
ward ; the Germans travel backward : anil we, with 
stultified perverseness, delight in following them. If 
mere declamation could pass for argument, the fresco 
people would not leave their antagonists a leg to stand 
upon. Not only, they 6ay, is fresc osuperior to oils in 
colour, tone, and harmony, but it is more durable 
also, and is actually all the better for being burnt. I 
hope that none of our forthcoming English frescoes 
will prove that there is more truth in this last assertion 
than, perhops, was intended. A few of the more 
modest of those proselytes of mortar do, indeed, ad- 
mit that chiaro scuro must be given up as a quality 
not very admissible in fresco. The government adver- 
tisement gives a hint that artists are to be cautious in 
the use of it. Chiaro scuro is, to be sure, a mere trifle. 
As the Frenchman said, on Richmond Hill,— “ It is a 
fine prospect, no doubt ; but take away the wood and 
the river, and what is it?” We discard chiaro scuro with 
just as little remorse; nevertheless, the works of Cor- 
regio, Rembrandt, and Sir Joshua Reynolds, would 
suffer a good deal by the deprivation of this quality : 
nor do I think that these masters would have excelled 
much in making cartoons. They were great painters, 
nevertheless, and I hope that the best of our cartoon 
makers will prove great painters also; and that the 
results may not convince the public that this all-suffi- 
cient quality of drawing (in which our artists are to be 
forced to accomplish themselves) will go no further 
towards making a great artist than an acquaintance 
with the grammar of his language will make a man a 
great poet. 

On one point I sincerely congratulate the profession 
and the public; the project of employing foreigners has 
been thrown overboard, and the glory or the shame 
will be all our own. Our artists are compelled to turn 
round to a process with which they are unacquainted, 
and by every rule of rational estimation, an inferior 
process ; but that public recognition of the claims of 
Art which has so long been demanded from Govern- 
ment, has at length been accorded; and for the rest, 
we may safely trust to the strength and stamina of the 
national genius. It may be hoped, too, that the impedi- 
ment which stands perpetually in the way of public 
undertakings, the preference of class, or corj orative to 
general interests, will be avoided. T he exolteJ station 
and character of the individuals composing the com- 


[June, 

mission, affords the best guarantee that the competi- 
tors will meet with impartial arbitration; and it may 
be added, that all who are acquainted with the distin- 
guished artist who fills the office of Secretary, will con- 
cur that, as tar as his influence extends, the interests of 
the profession could not have been consigned to better 
or more honourable keeping. 

Yours, &c., A Lookbr-on. 


THE ART-UNIONS OF GERMANY. 

A taste for the productions of the schools of 
Germany is growing up among us, in proportion 
as our progressive education in Art prepares the 
many to understand its higher purposes. We find 
even among our artists some who follow the Ger- 
man manner; but this, as a mere imitation, does 
not succeed ; whereas in- others a style similar, 
though by no means German, but traceable to the 
same pure source as the latter, is not only es- 
teemed by ourselves, but adds to the list of those 
imperishable names, which are familiar to all civi- 
lized nations. It is a part of our national charac- 
ter to imitate and adopt as much as we can of the 
good we find in other nations ; and with this, is 
very often admitted a strong amalgam of the 
other — the evil ; but for reasons, that we shall 
presently state, we shall be secured against self- 
betrayal in the indulgence of a taste tor German 
Art, in that form in which it is likely to be most 
known in this country — we mean engraving, which 
enhances the best points of German productions, 
and veils some of their principal defects. We do 
not, be it understood, rank the German schools 
before our own— for at best they are but imita- 
tive, while ours is original : we can at any time, 
under encouragement, rival them in their own 
style, but in ours they can never approach us. 
Our artists frequent, and study in, all the 
schools of Europe where anything is to be 
learned ; and it is continually asked of them 
what the British school has done ? To which their 
answer should be, that the British school of Art 
has done comparatively more in half a century 
than any of the others in two centuries; that it 
could, at a short notice, be prepared to dispute the 
palm with any modern school in history and 
poetiy. Of religious painting we say nothing ; in 
the first place, because those artists qualified for 
the two former styles are equal to this, since it re- 
quires less display of the figure. We therefore 
place it after tne two others in the scale of prac- 
tical difficulty. Although the works of the Ger- 
man schools are not a worthy sequel to those of the 
great masters, they are yet, in some sort, an ap- 
pendix— a varied and increasing series of comments 
upon them, which our own school might examine 
and profit by, but not follow ; for if we are to imi- 
tate, it were better we should apply to the same 
source which stimulated German gemus, and con- 
sult for ourselves the oracles on the walls of the 
Vatican. It is proposed to extend the benefits of 
the Art- Unions of Germany to this country, an en- 
terprise which must cause a considerable circula- 
lation of German engravings among us, and whence 
can result nothing save improvement ; because 
our painters do not seek to imitate, but to emulate 
and surpass. Had there been the spirit of imita- 
tion among us, it would surely have shown itself 
before; for Europe is surcharged with British 
artists, who visit all the famous cities of Italy, and 
paint after all the celebrities of the various schools. 
They look at the French school in the Louvre and 
the Luxembourg ; go to the Low Countries, and 
copy Rembrandt, Rube'ns, and the minor masters 
of the north ; and, finally, return to England, and 
settle down to work in a style as orthodox and 
English, as if they hud never seen a picture else- 
where than on the walls of the Royal Academy. 

The councils of the Unions of Germany can an- 
nually adduce substantial evidence of prevalence, 
to a certain extent, in England, of an admiration 
of the productions of German artists ; and, with a 
view of gratifying this feeling, it has been deter- 
mined, by the respective committees of the Art- 
Unions of Berlin, Diisseldorf, and Dresden, to 
establish in London a direct agency and depot for 
the reception of the names of subscribers for the 
exhibition of the works selected, and for the dis- 
tribution of the prizes. Arrangements have ac- 
cordingly been effected with Mr. Henry Hering, 
9, Newman-street, Oxford-street, whereby he Is 
appointed to the sole agency and direction for the 


igitized by 


THE ART-UNION 


143 


1842 ] 


United Kingdom ; and at whose office a series of 
prize engravings are on exhibition. 

The complaint urged against the Art-Union of 
this country is, that the selection being left to the 
discretion of the prize-holders, many of these, 
from the want of a sufficient knowledge of Art, 
make choice of inferior works, and so give en- 
couragement to artists of mdiiferent pretensions. 
This is, undoubtedly, a reproach, but it must be 
remedied with judgment and forethought ; for a less 
charitable error it would be, to substitute, as a cor- 
rective, the selection of only the high-priced works 
of men of long-established reputation, entrusted to 
the hands of a committee. We mean to convey 
that every artist has, in his early progress, received 
prices necessarily lower than those subsequently 
obtained for the works of his maturity. We would 
not, therefore, that in our Art-Unions any regula- 
tion should be adopted that could exclude rising 
artists of talent from a participation in the benefits 
accruing to the profession from these institutions. 
The selection of the prizes in Germany is vested 
in a committee. Of the pictures chosen we have 
no opportunity of speaking ; but some of the prize 
engravings we have inspected at the offices of Mr. 
Hering. 

In 1839 the Art-Union of Diisseldorf presented 
to subscribers an engraving by Professor Keller, 
from a picture by Bendeman, entitled * Girls at the 
Fountain.’ The title, which might admit of a 
much less refined illustration than exists in this 
beautiful engraving, is not worthy of the work ; 
for, in the composition, the fountain is a mere 
accident, the whole force of the theme being 
settled in the expression of the countenances of 
two girls, which involves a tale of the heart. The 
engraving is in line, and in the perfection of that 
style. 

In 1840 the same Art*-Union presented to its 
subscribers an engraving by Felsmg, from a pic- 
ture, by Kohler, entitled * Poetry. The subject 
is made out by a figure in a sitting position, winged 
and draped, and writing in a book the inspirations 
she is invoking. This figure is also in line engrav- 
ing, and is as much superior to ordinary allegory, 
as good poetry is to bad. In 1811 this was fol- 
lowed by 4 The Queen of Heaven,’ engraved also 
by Felsmg, from a picture by Deger, exhibiting 
the most exalted feeling for religious painting. 

In 1839 the Berlin Art- Union presented its sub- 
scribers with 4 Die Lurley,’ an engraviug by Carl 
Begas, from a picture by Mandel. The subject is 
from one of the legends of the Rhine, in which a 
maiden is described as luring by night, passengers 
out of their way by the sweetness of her music. 
The figure is on a cliff supposed to overlook the 
Rhine, and a traveller is seen ascending the rock. 
The figure is admirably drawn, and is charac- 
terized by much of the beauty of the greatest 
works. The same society, in 1837, gave to its 
subscribers 4 DasTrauerndeKonigspaar,’ engraved 
by Liideritz, from a picture by Lessing, and en- 
forcing the moral, that no 44 flesh” is exempt from 
sorrow — 14 Das Konigspaar” a king and queen 
are seated lamenting the evils of humanity, from 
which their high estate cannot secure them. 

Each of those works is of a high standard of Art, 
but they carry with them the strongest evidences 
of their school and its origin. We find in them 
aims to approach the most celebrated works of the 
Italian school ; and it must be confessed that they 
do excel works to which attach even celebrated 
names of that school. It is proposed, we see in 
the prospectus, to exhibit in London all the prize 
pictures of the German Art- Union, if the sub- 
scriptions obtained in the United Kingdom will 
warrant such an exhibition. 

We anticipate the most favourable results from 
a nearer connexion with schools that have studied 
so closely the great models : we are sufficiently 
firm in a style of our own to benefit by their ex- 
perience whilst we avoid their errors. Further in- 
formation on this subject will be found among the 
advertisements . 


REVIEWS. 

A Drawing Book ; containing Elementary 
Instructions in Drawing, and Illus- 
trating the Principles of Design as ap- 
plied to Ornamental Art. Published 
under the immediate Superintendence of the 
Council of the Government School of Design, at 
Somerset House. First Division, Part I. 
Publishers, Chapman and Hall. 

The appearance of the first part of the Drawing 
Book of the Government School of Design is par- 
ticularly welcome, as being the first publication 
that has emanated from authority, having for its 
object the dissemination of the elementary princi- 
ples of the art of ornamental design. This work, 
comprising both examples and instructions, is 
published at a cheap price, and will find its way, 
we hope, into every school where linear drawing is 
taught. This first part comprises fifteen sheets 
of examples to be copied by the learner ; beginning 
with parallel lines dividea to practise the eye in 
measuring; proceeding next to angles, and inter- 
sected lines to geometrical figures, rectilinear and 
curvilinear, from the square to the polygon, and 
the circle to the ovoid and parabola ; and then to 
the intricacies of combined figures. 

This drawing-book of introductory studies for 
mechanical or pattern -draughtsmen, is intended 
for students progressing individually, not in 
classes; and aims at practising the eye and hand 
in perceiving and delineating with accuracy and 
neatness the geometrical rudiments of form. Even 
our correspondent who advocates the exclusive use 
of models, or solid forms, to draw from, could 
hardly object to this course of study ; these forms 
being merely outline diagrams, so that the exercise 
of the pupil’s eye and hand would be the same 
whether he drew them from these chalk lines on 
paper, from Dupuis’ wire outlines, or from the 
planes that he advocates : the planes and wire 
outlines, indeed, seem particularly calculated for 
teaching numbers in classes, where all the pupils 
progress simultaneously ; while these examples 
on paper are especially adapted for the use 
of pupils proceeding individually : for pattern- 
draughtsmen, who do not absolutely require to 
learn perspective, these preliminary studies of 
exact linear drawing would be more directly 
inductive taan solid forms. We are far from 
undervaluing the use of models for teaching per- 
spective drawing, especially to classes; aud, as an 
introduction to the practice of picturesque sketch- 
ing from nature, they are essential; but it is 
uestionalle if in the case of merely ornamental 
rawing where the ordinary amouut of projection 
is basso relievo, and objects are only viewed on one 
plane, the study of perspective is necessary. Tnat 
the pupil, when he has acquired facility in drawing 
outlines, and shading from examples on paper, 
should be set to draw from plaster casts of orna- 
ment, is necessary ; and such is the course pursued 
at the School of Design : but this may be accom- 
plished without the study of perspective, to which 
the pupils at Exeter Hall devote so much time, to 
the neglect cf neat jess of hand. 

We shall take an early opportunity of referring 
to this important work at greater length. 

A Series of Diagrams, illustrative of the 
Principles of Mechanical and Natural 
Philosophy, and their Practical Application, 
with short Descriptions and Explanations, adapt- 
ed to the several purposes of Instruction. Drawn 
on Stone by Henry Chapman. Printed in 
Colours by C. F. Cheffnis. Published under 
the Superintendence of the Society for the Diffu- 
sion ot Useful Knowledge. No. 1. The Lever. 
Publishers, Chapman and Hall. 

The object of this admirable publication is to sup- 
ply the class-rooms of teachers with a set of 
figures on a large scale, representing the me- 
chanical powers in their various actions, as illus- 
trated by different machines ; that exemplified in 
the first number being the lever. The three plates 
forming the number are 2G£ inches by 19, and the 
various kinds of lever balances are delineated in a 
very bold and exact style, in neutral tints, imitative 
of the iron and wood of which the real machines 
are made. The effect of rotundity and metallic 
surface is almost illusory ; and the prints are as 
striking as it is possible to render them ; their size, 
too, is such that they would be distinctly visible 
from a considerable distance, being so very strongly 


relieved by the shading and the tinting. As speci- 
mens of lithographic printing in coloured inks, they 
are remarkable for force and distinctness ; being 
equal in these respects to the coarsest wood -cuts, 
with a degree of finish and neatness not to be looked 
for in them. 


The Hand-book of Needle-work. By Miss 
Lambert. Publisher, John Murray. 
Although we confess ourselves opposed, on prin- 
ciple, to the everlasting multiplication of 44 stitch- 
ing” — the perpetual sortings of 44 blues,” and 
“ drabs,” and 44 pinks,” and 44 greens” — though 
we are decidedly averse to 44 tacking” young ladies’ 
minds to their embro dery frames — yet we honour 
the time-ennobled art of tapestry too highly not to 
welcome such a volume os the present ; not only 
as containing a pleasing and succinct description of 
the rise and progress of an art which, if not legi- 
timately pictorial, is very near akin to it ; and 
which hands us down upon well-wrought canvass 
much of the chivalrous history of the olden ages. 
Moreover needle-work is a graceful and feminine 
employment, pleasant, and it may be profitable. 

The pretty volume now before us, has been 
compiled with exceeding care, and strict attention 
to the most minute details — all is well arranged, 
and if the fair compiler attaches more import than 
we do to the poetry of the needle, we quite agree 
with her in thinking that the useful and orna- 
mental works produced by this 44 little” instru- 
ment of pointed steel, are well worthy the attention 
of all fair ladies. Certainly there are evidences of 
industry, patience, and cheerfulness in this wo- 
manly hand-book, which lead to the belief that in 
every respect the author will be 44 an honour to the 
sacred name of wife.” We would recommend in 
the future editions a chapter on 44 white- work.” 
By 44 white- work” we mean the every-day sort of 
occupation which ladies of small incomes must at- 
tend to. The cutting out and management of va- 
rious articles for domestic service— the necessary 
quantity to use, and how it can be best employed 
— would be information of real value to many of 
our fair friends, some of whom we have heard 
lamenting that a book that has done so much to 
illustrate the beautiful, should have neglected the 
homely English 44 war a ” — a few hints upon which 
would have afforded so much additional pleasure. 
We know ladies are hard to satisfy— but we sub- 
mit the hint to the fair author, believing there is 
44 much in it.” The illustrations are a valuable 
addition to the interest and information of a volume 
which deserves a place on the table of every lady. 

The (late) Lord Chancellor Gotten ham. 

Painted by C. R. Leslie, R.A. Engraved by 

H. T. Ryall. Publisher, F. G. Moon. 

A fine portrait and an excellent likeness ; a work, 
in all respects, worthy of the accomplished painter. 
It is admirably engraved by Mr. Ryall. Although 
44 fallen from his high estate,” the distinguished 
lawyer and estimable nobleman has 44 troops of 
friends,” and they are not confined to the profes- 
sion of which he is the ornament. This copy of 
his features and form (for it is full-length) will be 
a most desirable acquisition to many. As a work 
of Art it is of very great excellence. 


Parga ; during the Awful Ceremony that preceded 
the Banishment of its brave Christian Inhabitants 
and the entrance of Ali Pacha. Painted by 
George and James Foggo. 

This is a very remarkable lithographic work ; of 
considerable size, but a mere miniature compared 
to the picture from which it has been copied, w hich, 
we learn from the prospectus, measures 26 feet by 
16. It is unquestionably a grand composition— of 
the class about which we have been raving, and 
raving idly, for years past, in the foolish hope 
that great things might be undertaken by artists at 
their own risk ; and yet it would seem that this 
has been actually done ; for this picture must have 
been conceived, arranged, and painted, without a 
prospect of any other result than the honour of 
completing so vast an undertaking. The attempt 
is most creditable, to say the least— a worthy effort 
of enthusiasm ; and if the performance be not alto- 
gether perfect, it is entitled to high respect, not 
alone for the ardour, industry, and immense labour 
it exhibits, but for its own merits, which are strik- 
ing and considerable. There is amazing grandeur 
in the design ; a well-sustained interest throughout ; 
skilful aud 44 scientific” grouping ; great power and 


144 


[June, 


THE ART-UNION. 


pathos in the expression ; and the frightM story 
is admirably told. 

At any other time we should enter at greater 
length into the subject, but, this month, we have 
exhausted both space and strength. 

The Embarkation op Regulus. Painted by 
W. Turnrr, R.A. Engraved by Daniel 

Wilson. Publisher, F. G. Moon. 

This is a noble work of Art, full of interest, and 
of the richest character. The fame of Turner is, 
firmly established, and will endure — in spite of 
himself. Not so,, as yet, that of the engraver ; to 
him, therefore, it is our more especial duty to 
direct attention. Modern Art has produced few 
works superior to this ; and we can scarcely refer 
to .one that is superior. The name of “ Daniel 
Wilson” comes upon us suddenly, appended to a 
plate of the rarest excellence and of great size ; 
upon inquiry, we learn that he was a pupil of 
Miller, of Edinburgh, and is now resident in Lon- 
don ; where we trust his abilities will not be over- 
looked, for they are of a very high order; no 
matter what may be the magnitude of the under- 
taking, it may be safely confided to his hands. In 
this print there is evidence of matured power ; a 
capability of dealing with difficult materials seldom 
to be met with ; a combination of force and deli- 
cacy of the happiest kind. The magnificent 
buildings, the numerous groups, the ancient ship- 
ping, and, above all, the water, are all put in with 
marvellous skill. The engraver may rest his fame 
upon this noble print — we hope it will be succeeded 
by that which usually, but not always, follows 
fame ; and have no doubt that it will be so, even 
in these times, when fine engravers of landscapes 
have far too little to do. 

Her Grace the Duchess of Richmond. 

Painted by Sir Thomas Lawrence, P.R.A. 

Engraved by G. R. Ward. Publisher, M’Lean. 
One of the happiest efforts of Lawrence’s graceful 
pencil — a fine and beautiful woman, richly en- 
dowed by nature as well as by fortune. The copy 
is valuable, not alone to those who know the origi- 
nal ; it is exquisite as a work of Art, and will even 
rank among the most famous works of the great 

S ainter. It has been very skilfully engraved by 
lr. Ward, few modern prints in mezzotint are 
superior to it. There is amazing delicacy and re- 
finement in the countenance, and the engraving 
of the satin dress has been seldom surpassed. 

The Coronation of Queen Victoria. Paint- 
ed by E. T. Parris. Engraved by Wagstaff. 
Published by F. G. Moon. 

The size of this important and valuable plate is 
37 inches by 281 ; a scale, evincing on the part of 
the publisher, a determination to do justice to a re- 
presentation, so faithful, of this national ceremony, 
as well in this respect as in all others connected 
with its execution and publication. The precise 
period selected by the artist ; is the moment when 
the brow of the sovereign is about to be girt 
with the diadem of these kingdoms; the crown 
is uplifted in the hands of the Archbishop, while 
all eyes are turned upon the Royal occupant of the 
chair of Edward the Confessor. The disposition 
of the figures is most judiciously managed, since 
each more or less relieves the other ; and all direct 
the eye of the spectator to the centre of attraction. 
The light falls as it should upon the Queen, and 
is thence most skilfully distributed throughout the 
surrounding groups, so as to show perfectly the linea- 
ments of each countenance without injury to the 
integral effect. From the solemn foreground the 
eye is led to the innumerable heads in the distance, 
which are faintly visible in the light that enters 
through the more remote windows, end which, by 
the most felicitous finesse , is made to contribute 
an inconceivable force to the main point of interest. 
The scene as here represented is most imposing, 
and even brilliant ; for in the profound sacredness 
of the ceremony we scarcely miss the colour of the 
original picture, and the general agroupment and 
composition seem to have been designed for yield- 
ing the very best effects in engraving. The light 
dresses of the female nobility are forcibly thrown 
off by the deep tones of the robes of ceremony, 
by which they are surrounded, and the latter again 
tell in powerful contrast with the lights in the nave 
of the Abbey. Works of this kind constitute por- 
tions of the histories of nations ; and this amounts 
in impprtancc to a passage of the history of our 


own, being one of the most moving events of the 
current reign. It is more than a record of the 
coronation, or a memento of the order of the 
ceremony: for, as well as containing a perfect 
portrait of the sovereign, it affords studied and 
correct likenesses of all who assisted at the so- 
lemnity. It may be here stated that, during the 
august occasion, Mr. Parris was permitted to make 
preparatory sketches from situations the most fa- 
vourable for observation, and has since enjoyed 
every facility that could contribute to the pictorial 
success and substantial truth of his great work ; of 
the labour attending the execution of which some 
idea may be formed, when it is stated that seventy- 
seven portraits are given, most of the persons pre- 
sent having sat to the artist expressly for this pic- 
ture. An enterprise so spirited as the publication 
of such a work as this, cannot fail to render an 
ample return ; since, on the part of Mr. Moon, no 
obstacle, no consideration of cost, has for a mo- 
ment operated against bringing to a happy issue, the 
publication of a contribution so valuable to the 
national collection of historical engravings. 

ThE Princess Augusta of Cambridge. Paint- 
ed by Hkuss, Mayence. Engraved by E. W. 

Wass. Publishers, H. Graves & Co. 

The original picture from which this print is taken 
is now in the Royal Academy. The portrait there 
appears hard ; the tone of colour — the flesh-tints, 
more especially — being by no means agreeable ; yet 
it is, undoubtedly, a very striking likeness ; al- 
though, as an example of German art, it is not 
calculated to elevate the school, or induce us to 
abate a jot of our claim to pre-eminence in the 
class of art to which it belongs. As an engraving, 
however, we can speak of it in terms of the most 
unqualified praise ; it is not, indeed, too much to 
say that as an example of portraiture, it may rank 
among the more successful efforts of modern times. 
The artist has a free and vigorous hand, yet his 
work is painted with the greatest possible delicacy. 
He has gone as near to produce colour as any 
modern engraver ; while, in brilliancy of tone, his 
work is surpassed by few. 

We hope that opportunity will be given him 
to produce a work of more ambitious character ; 
for we know of no engraver in this “ dotted” style 
(with one exception) who might be more safely en- 
trusted with a picture of magnitude and high value. 
Sure we arc that he would do it ample justice. 

[We have already made some reference to a 
work, explanatory of the recent operations of the 
British army in Affghanistan, about to be pub- 
lished by Messrs. Graves and Co. Of this publica- 
tion, several specimens have been sent us; they 
are of the deepest interest, not alone as regards the 
unhappy catastrophe they principally illustrate, 
but as pictures of a very wild and singular country, 
abounding in the picturesque, and a people in 
every sense of the term “ peculiar.” It will be, 
moreover, valuable as a work of Art; for the 
subjects are remarkably well chosen, and the 
groups are “ put in” with consummate skill ; “ the 
drawings on stone” are by Mr. Haghe, who enjoys 
pre-eminence in this department of the Art. 

Taken altogether few modern publications are 
calculated to be so extensively popular."] 


TO READERS AND CORRESPONDENTS. 

Onr subscribers will observe that we, this month, 
supply them with on additional half-sheet; and they 
will, we hope, take care that no mistake occurs in its 
delivery, either by hand or by post, for it is stamped, 
in order that it may go post-free. 

We are bound in justice to adopt this course occa- 
sionally, for our advertisements increase ; and we are, 
each month, compelled to devote to the advertiser a 
page or two rightly the property of the reader. 

A question from Norwich.— In no society is a mere 
exhibitor a member of a “ Hanging” Committee. 

A letter from Edinburgh gives us a list of several 
pictures, for which the ‘‘ Society” there, ofl'ered, and 
paid, less than two-thirds of the sums asked by the 
artists. We submit to our correspondent that it be 
neither wise nor fair to publish it. 

E. C.— We cannot find room for so long n letter ; but 
the subject shall have onr earliest attention; we fully 
admit the justice of his view. 

“ A Portrait Painter.”— We find it difficult to give 
advice on such a subject. An artist, a portrait painter, 
living some hundred miles from London, wishes to ob- 
tain instructions In his art, by letter, and by the loan of 
paintings to copy, from some com petent professor, whose 
” works and charges would suit his means.” 


A QUAOLEUM, or a new Preparation of 
MOIST COLOURS to give the effect of either 
Oil or Water-Colour Painting. 

Invented by GEORGE ROWNEY and CO., Colour 
Manufacturers to Artists, 51, Rathbone-place, London. 

These Colours may be used either on Canvass, 
Millboard, Panel, or Paper. If used as Water Colours, 
water is the only medium required; but if to present 
the effect of Oil Painting, a macgeulp prepared ex- 
pressly for the purpose is necessary : they are applica- 
ble to any style of painting, but most particularly 
useful in sketching from nature. The dislike that 
many persons (especially ladies) have to oil colours, on 
account of their smell, is here entirely avoided, as they 
have rather a pleasant odour, and any stain or soil from 
them may be removed with water. They dry nearly aa 
fast aa water colours, but if the evaporation be too 
rapid, it may be controlled by the use of the mscgoelp. 
The sketches, if done lo represent oil colours, may be 
varnished as soon as dir. 

These Colours are sold in compressible tubes, or in 
small earthenware pans, and are called Aquaoleum, or 
a new Preparation of Moist Colours, ana sold at the 
usual charges of Cake Colours generally. 

N.B.— Specimens may be seen in the different styles 
to which they are applicable, and printed directions 
furnished with the article . 

A CASE of EXTREME DISTRESS.— An 
Artist of great merit, and just rising into very 
lucrative practice, has been suffering for Eight Months 
from illness so severe as to render him perfectly help- 
less. His little property has been expended to support 
him and a family of five children and their mother, 
whom they have this morning had the misfortune to 
lose by sudden death. Known as a man of talent and 
of most irreproachable character to the respectable 
houses whose names are at the foot, the present 
Appeal to the benevolence of the affluent is made by 
their recommendation, and with consent on their part 
to receive subscriptions for him. Messrs. Colnaghi 
and Puckle, 23, Cockspur-street ; Paul and Dominic 
Colnaglii and Co., Pall-mall East: Graves and Co., 6, 
Pall-mall; W. It. Sa ms, &c. &c. 

T HE LATE GEORGE BARRET.— To the 

lovers of genuine Art, who happily are increasing 
in this country, the Works of the late George Barret 
are well known and highly appreciated. He was ap- 
propriately styled “ The English Claude,” and, like that 
great master, assidiously devoted himself to the study 
of nature, in which pursuit he evinced great feeling and 
fidelity. He was one of the founders of the Society of 
Painters in Water Colours— an institution universally 
acknowledged to have given a stimulus to the Arts and 
a sterling character to Water-colour painting— to which 
object his own works greatly contributed. 

His father was one of the original members of the 
Royal Academy, but died while he was very young, 
leaving him and a large family totally unprovided for : 
thus he commenced life under difficulties, and strug- 
gled through it with exertion, though with patience and 
content. At its close, he has left a widow, who had 
been a faithiul and excellent wife, two sons, and a 
daughter, without any provision; the sons may ere 
long be able to support themselves, but the daughter, 
from her age, must still remain dependent on her 
mother. 

As an artist, Mr. Barret’s talents, combined with his 
frugal and industrious habits, ought to have produced 
biin a handsome competency, but he was stimulated 
more by the love of excellence than the love of money ; 
and though he toiled incessantly at his profession, be 
earned only sufficient to supply the daily wants of 
himself and his family ; a long illness, too, aud sub- 
sequent decease of his eldest sou, whom he had edu- 
cated as a surgeon, added to his embarrassments, and, 
it is feared, accelerated his death. Of a naturally mild 
and amiable disposition, he contemplated his approach- 
ing dissolution with calm and pious serenity; and his 
last work, entitled ‘ Thoughts in a Churchyard,’ in the 
present Exhibition, which is replete with mind and 
feeling, was studiea in the Cemetery at Paddington, on 
the site of which once stood the Manor House, the 
residence of Barret’s father in his prosperity, where 
George Barret’s early days were passed, and where his 
remains are now deposited. 

To those who delight in the pure and exalted grati- 
fication of alleviating distress, as well as to the patrons 
and lovers of Art, this brief appeal is addressed in be- 
half of the Widow and Daughter of so talented and 
estimable a man ; and it is earnestly hoped the plead- 
ings of adversity may not be uttered in vain. 

Subscriptions will be received by Messrs. Coutts and 
Co., Bankers, 59, Strand ; by Mr. Ackermann, Pub- 
lisher, 96, Strand : or by any one of the Members of the 
undermentioned Committee. 

It is proposed that the funds that may be raised shall 
be laid out in an Annuity on the life of Mrs. Barret, and 
a Committee of the following friends of the late lamented 
Artist have undertaken to carry it into eflect:— 

Edw ard Swinburne, Esq., 32, Great Castle-street, Caven- 
dish-square. 

Thomas uwins. Esq., R.A.,41, Charlotte-street, Fitzroy- 

Eqnare. 

Joshua Cristall, Esq., 44, Robert-strcet, Hampstead- 
road. 

F. O. Finch, Esq., 51, Charlotte-street, Fitzroy-square. 
James Elliott, Lsn., 32, Berwick-street, Soho. 

Henry Harrison, Esq., 1, Percy -street, Bedford-square. 
May, 1842. 

■ . i _r\r\ ilp 





1842 .] THE ART-UNION. 145 

HENRY GRAVES AND COM?, Printsellers and Publishers to Her Majesty and H.R.H. Prince Albert, have the honour to 

announce that they will publish during the present Season the following 

SPLENDID WORKS OF ART. 

THE CORONATION OF HER MAJESTY, QUEEN VICTORIA, 

IN WESTMINSTER ABBEY. 

Engraved in the finest style of Art by H. T. Myall, Esq., Her Majesty’s Historical and Portrait Engraver, from the magnificent Original Picture, most superbly 

painted by George Hayter, Esq., M.A.S.L., Painter in Ordinary to Her Majesty. 

Prints, j£4 4s Proofs, £8 8s Proofs before Letters, £12 12s. 


A MOST BEAUTIFUL SERIES OF 

ORIENTAL SKETCHES, 

MADE BY THAT LAMENTED AND HIGHLY TALENTED ARTIST, SIR DAVID WILKIE, R.A., 

Daring bis late Tour in the East ; and consisting of Twenty-six of the most splendid Drawings of his latest Compositions, Lithographed in the finest style of Art, in exact 
imitation of the Superb Originals, mostly in the possession of the Publishers, by Mersrs. Louis Haghe and Joseph Nash. 

Messrs. Graves and Company, in announcing the Publication of a Work comprising the latest productions of that talented and much esteemed Artist, the late Sir David 
| Wilkie, feel confident that no culogium is necessary to enhance it. in the public estimation, neither do they deem it fitting to revert to an elaborate detail of its merits, being 
convinced from the high estimation in which the late Artist stood, that a notice of their determination to publish a volume compiled from his latest and most choice produc- 
tions, lithographed under the experienced judgment of Mr. Hauhe and Mr. Nash, is sufficient alone to ensure it its merited patronage. 

The Volume will consist of Twents-six Plates, royal folio, price £4 4s A few Copies coloured and mounted as the Original Drawings, £ 10 10s. 


A SPLENDID AND HIGHLY FINISHED WORK OF 

IIADDON HALL, DERBYSHIRE, 

Consisting of Twenty-six of the most beautiful Interiors and Exteriors of this interesting Remain of the Olden Time: Drawn on the Spot, and on Stone, by 
Douolas Morison, Esq., of a uniform Size with the Work on Belgium and Germany, by Louis Haghe. 

Tbe Volume will consist of Twenty-six Plates, imperial folio, price £4 4s Coloured and Mounted, in a Portfolio, jfflO 10s. 


A BEAUTIFUL AND MOST INTERESTING WORK 

ON THE RECENT OPERATIONS OF THE BRITISH ARMY IN 

AFGI-IAUNIST A N, 

Consisting of Views of the most beautiful Scencrv and Passes through which the Troops marched, with Figures illustrative of the memorable events which occurred 

during the Campaign, and descriptive of the .Manners and Costumes of the Natives. 

Drawn on Stone by Louis IIaoiib. Esq., from the original and highly-finished Drawing* executed on the spot by Jambs Atkinson, Esq., Superintending Surgeon 

b of the Army of the Indus. 

The Volume will consist of Twenty-six Plates, royal folio, price £4 4s A few Copies coloured and mounted as the Original Drawings, £ 10 10s. 


THE BED ALE HUNT. 

Engraved in the finest style of Mezzotinto by W. H. Simmons, from the beautiful Picture painted by Anson A. Mahtin, Esq., and presented to Mark Milbank, Est, 

by the Gentlemen of the Hunt. 

Price : Prints, £3 3s Proofs, £ 3 5s First Proofs, ££ Cs. 

This splendid Engraving contains on less than Forty-two Portraits of the most distinguished Sportsmen connected with the Hunt. 

«« One of the best works of the kind ; a Sportsman’s picture every inch of it ; and he must indeed want taste who does not add it to his choicest collection .”— Sporting 
ItevUw. 

THE GAMEKEEPER’S RETURN. 

Engraved in the finest style of Art by G. H. Phillips, from the beautiful Painting by T. Sidney Cooper. 

Price : Prints, £1 Is Proofs, £2 2s Before Letters, j£3 3s. 

“This Print Is intended as a companion to J. F. Lewis’s 1 Highland Hospitality ;’ and a more pleasing pair of Engravings wa do not remember to have seen.”— 
BrituA Quin. 

A BEAUTIFUL ENGRAVING OF THE PORTRAIT OF 

LIEUT.-GEN EllAL SIR HUGH GOUGH, G.C.B. 

COMMANDER-IN-CHIEF OF HER MAJESTY'S TROOPS IN CHINA. 

From tbe original Portrait painted by a Chinese Artist, and engraving in the finest style of Mezzotinto by J. R. Jackson. 

Price: Prints, 10s. 6d Proofs, £\ Is Proofs before Letters, £\ 11s. 6d. 

Subscribers are most respectfully requested to forward their names to the Publishers at their earliest convenience, as only a limited number of impressions 

will be taken from the plate. 


THE CHILDREN WITH RABBITS. 

Engraved in the finest style of Mezzotinto, by Thomas Landseer, Esq., from the interesting Picture painted for the Honourable Mrs. Bathurst, 

by Edwin Landseer, Esq., 1LA. 

“ Of all Mr. Landseer’s portrait pictures, this is the most striking, and displays the most unquestionable marks of genins. The composition is very simple, but very 
■weet. It is ona of those home pictures that must delight all classes, because all will understand and appreciate it.”— Art-Union. 

Price : Prints, £2 2s. . . . Proofs, £4 4s Proofs before Letters, £6 6s. 

SPECIMENS OF THE WORKS MAY BE SEEN AT THE PUBLISHERS’. 


LONDON: PUBLISHED BY HENRY GRAVES AND COMPANY, PRINTSELLERS AND PUBLISHERS, 

BY SPECIAL APPOINTMENT, TO HER MAJESTY, AND HIS ROYAL HIGHNESS PRINCE ALBERT, No. 6, PALt MALL. 


Digitized by Vji 



146 


D rawing and painting, no. 14 , 

TOTTENHAM COU RT-ROAD. —Artists. Artl- 
sans, and others, are respectfully informed that a 
Large Room, furnished with Casts from the Antique, 
•Ornaments, &c., has lately been opened for STUDY, 
every Monday, Tuesday, Thursday, and Friday Even- 
ings, from 6 o’clock till 10. Subscription, 4s. per 
month. 

A Class for the Study of the Living: Model meet on 
Wednesday and Saturday Evenings. 

ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFOIID, 45, FLEET-STREET, 
• corner of Mitre-court, Temple, opposite Fetter- 
lane. begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Pricesattached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

C EMENT. — Most important and valuable In- 
vention. — To Architects, Engineers, Contractors, 
Builders, Masons, Plasterers, and the Trade, and also to 
Shippers. —The PATENT STUCCt > PAI NT CEMENT, 
surpassing every article hitherto introduced, possesses 
the following extraordinary and valuable projierties : 
Remarkable adhesiveness, fixing most tenaciously to 
the smoothest surfaces (even tn glass). It is perfectly 
impervious tn wet or damp. The more it is exposed to 
the atmosphere the harder and more durable it be- 
comes. It is perfectly free from any of the caustic qua- 
lities of lime; and it may therefore be painted upon as 
soon as dry, as it is impossible (hat it can vegetate or 
change colour, nor can it be affected by frost or heat, or 
crack, chip, or peel off. To merchants and shippers it 
must form a most important item of commerce, as it 
will keep for any length of time as fresh as delivered 
from the manufactory. With regard to price, it is 
c teaper than any^other cement ; and its lasting qualities 
render it a fortune to builders and others investing 
capital in build ng speculations. The Patentees have 
appointed Messrs. MANN and Co., 5, Maiden-lane, 
Queen-si reet, Cheapside, their sole Agents, at whose 
warehouses any quantity may be had. specimens may 
be seen, and every information afforded. 

Pictures of the Highest Class.— By Mr. RAINY, at the 
Gallery, No. 14, on the east side of liegent-Btreet (in 
the division between Piccadilly and Pall-mall), on 
THURSDAY, June 2, at Two precisely, 

T HE very valuable nnd select COLLECTION 
of PICTURES, chieflvof the Italian school, well 
known in Scotland as purchased by the late Mr. Irving 
for the late Sir William Forbes, Bart., from the Tenari 
and Zambeccnri palaces at Bologna, from Count Lccchi 
at Breschia, and other noble families at Venice, Flo- 
rence, &c., for whom many of them were painted. They 
are generally in a pure state, anil among them are spe- 
cimens of fine quality, by the following great masters : 
Gian Bellini Salvator Rosa Guido Keni 

Titian Canaletti Rembrandt 

Paolo Veronese Lud. Carracci Morone 

F. Francia Ann Carracci Sasso Ferrato 

Luini A. del Sarto 

Particularly the ‘ Virgin and Infant Saviour, with St. 
John,’ a grand gallery picture by Guido ; the ‘ Martyr- 
dom of S. Giustini,’ by Paolo Veronese; * Portrait of 
the Doge Grimani,’ Titiau ; 4 View on the Great Canal, 
Venice,’ Cunaletti; 'St. John in the Wilderness’ (after 
Raffaelle), A. del Sarto; a splendid Landscape, Al- 
bano, &c, 

To be viewed three days preceding the Sale, and Ca- 
talogues mny be had one week previously at the Gal- 
lery ; and in Edinburgh at the office of the “ North 
British Advertiser,” Melbourne-place. 

Valuable Miscellanies, removed from a Mansion at the 
West- End, a Finp Toned Finger and Barrel Organ, 
suitable for a Chapel or Concert-Room, a Grand 
Pianoforte, by Broadwood, &c. 

B Y Mr. RAINY, at the GALLERY, No. 14, 
on the East Side of REGENT-STREET, on 
FRIDAY, June 3, 1842, at Two o’clock precisely, 
S U PE K B BU H L and O LD M A RQU ET E R A E TA BL KS, 
CABINETS, and GARDE ROBES ; some fine Old 
Bronzes, Carvings, particularly a Crucifixion in Ivory 
in one piece, by Fiamingo; a Crystal Dessert Service, 
superbly mounted in Or-molu, by Denieres ; a Beauti- 
ful Dessert Service, by Feuillet, finely painted ; Orien- 
tal China Vases, I.irge Bisque! Groups, a Florentine 
Mosaic Slab, a Curious Mechanical Clock, representing 
a NVgress with Moveable Eyes, which mark the Time; 
a Marble' Figure of Cleopatra, by Bartolini; and other 
items of value. Also, a superior Finger and Barrel 
Organ, by Flight, removed fivm a resilience on Ciap- 
ham-cuii.nn n (recently sold); it is near 12 feet high l<y 
7 feet w ine, in an elegant Mahogany-case, the compass 
from GO to F in Alt, wiih seven slops. 

To be Viewed on Tuesday and Wednesday preceding 
the Sule, and Catalogues had at the Gallery. 


THE ART-UNION* 

SCOTTISH UNION FIRE AND LIFE INSURANCE 
COMPANY. 

Instituted 1824, and incorporated by Royal Charter. 
London Board. 

Charles Balfour, Esq. Robert Murray, Esq. 

J . Deans Campbell, Esq. R. Oliverson, Esq. 

J. Gordon Duff, Esq. Davie Robertson, Esq. 

Robert Gillespie, Esq. H. F. Sandeman, Esq. 
James Gooden, Esq. John Small, Esq. 

John Kingston, Esq. Daniel Stoddart, Esq. 

Sutherland Mackenzie. Esq., Manager. 
London Offices, 449, West Strand, and 78, King Wil- 
liam-street, City. 

Life Deppartment. 

T HE additions made to the LIFE POLICIES 
granted by this Corporation for the last seven 
years vary from 41 to 65 per cent, on the premiums 
paid, and average 14 per cent, on the sums assured— a 
result, it is believed, far more favourable to the assured 
than any other Company has hitherto accomplished, 
when the low rates of premiums charged by this Cor- 
poration are taken into consideration. 

The next division of the profits will take place in 
December 1846, being an interval of five years, and 
persons entering before the 1st of August next will 
enjoy one year’s additional rating, and rank at next 
division of profits for five complete" years. 

Forms of proposals may be had at the offices, 449, 
W«t Strand, and 78, King William-street, City. 

F. G. Smith, Secretary. 

The usual commission allowed to Solicitors and 
Agents. 

P OOLOO’S CHINESE CEMENT. — The 

extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance iu the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at ls.6d., 2s. 6d., 4s. 6d., and 7s. 6d., 
by the Proprietor’s sole agents, BMJFELI) and Co., 
Cutlers and Kazormakers,6, Middle-row, Holborn ; and 
by their appointment, at the principal Chemists and 
Perfumers. BLOFELD’S London made Table Knives, 
at ULOFELD and Co.’s, 6, .Middle-row, Holborn. 

P ICTURE FRAMES, LOOKING GLASSES, 
CONSOLE TABLES, WINDOW CORNICES, 
SCREENS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 
WORKING CARVER and GILDER, 19, ST. MAIL 
1 TIN’S-COURT, St. Martin’s-lane.— P. G. manufactur- 
j ing every article on the premises, is thereby enabled to 
oflerthem at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
W ood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of charge. A list of the 
prices of Plate Glass, &c. can be had at the Manufac- 
tory (gratis), or sent prepaid to any part of the King- 
dom.— P. G. is now supplying Cbeval Glasses, the best 
brilliant plates, 45 inches oy 25 inches, in noble French- 
polished Spanish Mahogany Frames, at jt7 10s. each. 

— — — ■ 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal i 
Academy. 

B ROWN’S COLLAPSIBLE METALUC 

TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and his predecessor, having 
been the faroured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourtnan to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water 
63, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an inn ingt inent. 

Ihe Genuine a>c made of Purified Tin, have the 
words “ BK()t\ N’s» PAT e.NT ” on the Cap and Nozzle, 
and are wariaultd not to injure the most delicate 
colours. 


[JUNE, 

T O MINIATURE PAINTERS, Ac. — W. 

WARRINER, 39, GREAT CASTLE STREET, 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 

C atronised him ; begs further to inform them that ne 
as a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mata, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. * 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M* LEAN, 78, Fleet-street 
(opposite Thb Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one 'hundred different 
sized frames, ornamented with desiirns, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part of the kingdom. Tho 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery. — All goods taken back, not approved of in 
three mouths. 

WINSOR AND NEWTON’S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 

FOR OIL PAINTING. 

W and N.’s Compressible Metallic Tubes 
• are made on an entirely novel plan, of a 
aeries of layers or rolls of extremely thin metal ; they 
are extremely light, yet have great strength and tough- 
ness, so that they are not liable to split and leak, as is 
the case with all Tubes made on any other plan. 

By a process peculiarly original. W. and N. fine every 
Tube with a thin membranous substance . and thereby 
prevent the very injurious effect occasioned to colours 
which are long kept in direct contact with a metallic 
surface. The most delicate colour is thna effectually 
protected from any chemical action that might other- 
wise cause its deterioration. 

The oil colour ia ejected from these Tubes in a man- 
ner similar to that in which colour is expressed from 
the common bladder colour, by squeezing or compress- 
ing between the thumb and finger, so that the colour is 
always kept gathered up in a comjiact state ; theempty 
part of the Tube remaining closed or compressed be- 
• hind it. 

The bottom of the Compressible Tube is cemented in 
a manner entirely new ? which gives a security to the 
Tube not before obtained, ana renders it impossible 
for the contents to be forced out through accident or 
imperfect closing. 

W. and N. beg to apprise their Patrons that their 
new manufacture of Compressible Metallic 'lubes is 
entirely original and, excepting the tubular form 
(which has been generally adapted in various contri- 
vances for preserving oil colours for the last fifty years), 
their Tubes are not similar in their manufacture to any 
of the numerous other tubes applied to the preservation 
of oil colours noar in existence. 

They are light and portable, and may be packed with 
safety among linen or paper. They preserve oil colour 
for any length of time, are peculiarly adapted for ex- 
pensive colours, and offer the most perfect mode of 
sending oil colours to warm climates. 

The advantages of these Tubes maybe thus enumerated. 
The preservation of the colour free from skins. 

The cleanliness with which the art of painting may 
be pursued, either by artist or amateur. 

The readiness with which the colour may be pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and danger of breaking or 
bursting. 

Economy in use, and moderate price. 

TO BB HAD, WHOLESALE AND BETAIL, AT 

WINSOR AND NEWTON’S 
ARTISTS’ COLOUR MANUFACTORY, 

38, RATH BONE PLACE, LONDON. 

Price 6d. each, to be filled with colour (Cobalt, Mad- 
der, Lakes, &c., extra as usual). 


Digitized by LnOOQie 



, 1849 .] 


THE ART-UNION 


147 


UNDER THE SUPERINTENDENCE OF THE SOCIETY FOR THE DIFFUSION OF 
USEFUL KNOVYLELHJE. 

Just published, to be continued every alternate Month, the First Number, price 7s. 6d., of 

A SERIES OF DIAGRAMS, 

Illustrative of the PRINCIPLES of MECHANICAL and NATURAL PHILOSOPHY, and their Practical 
Application.— Printed in Colours. 

*»* Each Number will contain Three Plates ( 20 $ inches by 19), and the Senes will commence with MECHANICS, 
which will be comprised iu Seven Numbers. No. 1. THE LEVER. 

CHAPMAN and HALL, 186, Strand, London. 

UNDER THE IMMEDIATE SUPERINTENDENCE OF THE COUNCIL OF THE GOVERNMENT 
SCHOOL OF DESIGN AT SOMERSET HOUSE. 

A 1) R A W I N G - 13 O O K ; 

Containing Elementary Instructions in Drawing, and illustrating the Principles of Design as applied to Orna- 
mental Art. 

This work will be published in Numbers, and the Council have arranged that it should be sold at a price 
little exceeding the cost of production ; so that, as far as possib.e, it may come wunin the reach of all classes of 
persona desirous of instruction m Drawing and the Art of De&ign. 

THE FIRST DIVISION 

Is to be devoted to elementary instruction, and will exhibit a course of Outline Drawing (including both geo- 
metrical and free-hand drawing) and Shadow mg, illustrated by numerous examples, as well modern as ancient, 
■o as to form a complete course of instruction p.ehminary to drafting from the me! This will consist of Four 
Parts, each containing Fifteen sheets, ot Examples and Eeiter- press, price 3s. tki. 

THE SECOND DIVISION 

Will contain examples illustrative of the Principles of Design, and also Designs applicable to particular branches 
of Manufacture, it is intended that each Division sboum ot- accompunieil uy an explanation of the figures, and 
also directions as to the mode of teaching, so that the work muy he used in schools, or by persons intending 
to learn without the assistance of a master. 

%* The First Part was published this day, June the 1st, and the others will follow at regular intervals of 
Two Months. 

CHAPMAN and HALL, 186, Strand. 


This day is published, in 8vo., price 21s., a few on large 
pap;r (royal 8vo.) for colouring, price jc‘2 2s., 

H eraldry of fish. — None » of the 

principal Families bearing Fish in their Arms. 

By Thomas Moulb. 

Nearly 600 families are noticed in this work; and 
besides the several descriptions of lish, fishing-nets, 
and boats, are iucluded also mermaids, tritons, and 
shell-fish. Neatly 770 ancient seals are described, and 
upwards of 220 subjects in stained glass. The engrav- 
ings, 203 in number, are from stained glass, tombs, 
sculpture, and carving, medals and coins, rolls of arms, 
aad pedigrees. 

John Van Voorst, 1, Paternoster-row. 

Just publisbed, in royal 4to., price £\ 5s. bound, 

R ustic architecture — 

Picturesque Decorations or Rural 
Buildings in the Use of Rough Wood, Thatch, 
&c. Illustrated by Forty-two Drawings,; consisting 
of Plans, Elevations, Sections, and Perspective Views; 
the Doors, Windows, Chimney Shafts, &e., drawn 
geometrically to a large scale; with descriptions and 
estimated costs. By i. J. Kicauti, Architect. 

“ We have repeatedly and strongly recommended this 
elegant and useful work, and can safely say, that we 
think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardeners* Magazine. 

James Carpenter, Old Bond-street. 

A NEW HAND-BOOK FOR THE PEOPLE. 

T HE HAND-BOOK of the ELEMENTS of 

PAIN 1ING in OIL, with an Appendix, contain- 
ing Sir Joshua Reynolds’ Observations and instructions 
to Students. Imperial 32mo., is. 

The object of this work is to place within the reach 
of all classes the means of attaining proficiency in the 
divine art. 

The ENGLISH MAIDEN; her Moral and Domestic 
Duties. Second edition, fcp. Svo., 4s. 6d. ; silk, 6s. ; 
morocco, 8s. 

“ To every English maiden, to every English wife 
and mother, this book will be an invaluuble monitor.” 
—Yorkshire nan. 

Clarke and Wilson, 66, Old Bailey. 

A New Edition, corrected, with a Supplement, contain- 
ing above 160 additional pages of Letter-press, and 
nearly 300 new Engravings, bringing down the Work 
to 1842 ; in one very thick vol. svo., of above 1300 
pages, and 2000 Eugravings on Wood, £3 3s., bound 
in cloth. An 

E ncyclopaedia of cottage, farm, 

and VILLA ARCHITECTURE and FURNI- 
TURE; containing Designs for Cottages, Villas, Farm- 
houses, Farmeries, Country Inns, Public Houses, Paro- 
chial Schools, &c., with the requisite Fittings-up, Fix- 
tures, and Furniture, and appropriate Offices, Gardens, 
and Garden Scenery ; each Design accompanied by 
Analytical and Critical Remarks illustrative of the 
Principles of Architectural Science and Taste, on 
which it is composed, and General Estimates of the 
Expense. 

By J. C. Loudon, F.L.S., &c. 

*** The New Supplement separately, 7s. 6d. sewed. 

“ No single work has ever ejected much good in 
improving the internal arrangement and the external 
Rppuaiauce of country dwellings gi-neruny.” — limes. 
London : Longman, Brown, Green, and Longmans. 


rpHE PEOPLE'S EDITION of the WORKS 

X of BURNS. Embellished by no less than Tmrty- 
tliree fine Hates (after Wngnt anu other Artists), illus- 
trative of the principal suojects of his Poems. With 
a new Life of burns, auu Explanatory Notes preceding 
each Poein, by Allan Cunningham. In one hand- 
Boiue volume, super- royal 8vo., cloth extra, price las. 

This will be found the most complete anil best edi- 
tion of the Works of burns yet ottered to the public, 
and the ouly one edited by and published under the 
superintendence of Mr. Cunningham. 

London: George Virtue, and sold by all Booksellers. 
V* Be caret ul to order the " People’s Euiuou.” 

Published in 4to., Price 10s. in Freuch Boards; 
and on Royal Puper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, Price Jt 7 7s., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Oaten, and English schools; and 
Wood Cuts. B, JOHN BURN El, F.R.3. 

1. On the EDUCATION of the EYE. Second Edi- 
tion. Price ± 1 5s. 

2. On COMPOSITION. Fifth Edition. Price 15s. 
in boarus. 

3. On LIGHT and SHADE. Fifth Edition. Price 
18s. iu boarus. 

4. On COLOUR. Fourth Edition. Priced 11 s. 6d. 
in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the Aew Edition of the Encyclopaedia 
Bnuuiuica— bee the article on Drawiug. 

James Carpenter, Bond- street. 

W AVE RLE Y NOVELS FOR EVERY 
ONE. 

I. WAVERLEY NOVELS. Abbotsford Edition, 
profusely illustrated. Parts I. II. and III. are pub- 
lished. 

II. WAVERLEY NOVELS. Four Shilling Edition. 
Boards. Fifteen Vols. are published. 

111. WAVERLEY NOVELS. Four Shilling Edition. 
Sewed. Fifteen t arts are published. 

IV. WAVERLEY NOVELS. People’s Edition. 
Twenty-three Numbers and six Parts are published. 

Robert Cadell, Edinburgh ; Houlston and Stoneman, 
Loudon; and to be had of every Bookseller in Great 
Biitaiu, Ireland, and tne Colonies : — 

Of whom may be had, 

I. SCOTT’S NAtOtibON. New Edition, £\ cloth; 
or £\ 8s. plates, hait-oouud Morocco. 

II. SCO IT’S POETRY. New Edition, £\ cloth; 
and £l ils. 6d. plates, half-bound Morocco. 

III. SCOTT’S LIFE. New Edition, £\ cloth; and 
£\ 8s. plates, half-bound Morocco. 

IV. SCOTT’S PROSE WORKS, New Edition, 3 
Vols. £ 2 12s. cloth. 

V. TALES OF A GRANDFATHER. New Edition, 
3 Vols. 15s. cloth. 

VI. THE SAME. Royal Octavo, 12s. cloth, or 15s. 

plait s, huh’- bound Morocco. 

VII. TilE C(U.\'.5 ORACLE. A New Edition. 

VI 11. Mrs. DAL.GA1K.VS COOKERY. A New 
Edition. 

V* Part IV. of Abbotsford Editiouon 11th of June.— 
Part V. on 25tu of June. 


MILLER’S SILICA 
COLOURS. 

The SILICA OIL COLOURS are prepared in col- 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of au order, for any o* 
the under-mentioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK’S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium, having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removiug the existing evils of the Modern School ; 
namely, the destructive effects of Varnishes, Oils, and 
M'guelps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glass Medium in Bottles . 

No. 1. For first and second painting. 

No. 2. For rubbing up powder colours with. 

No. 3. For third painting, finishing, and glazing, and 
for mixing with colours already prepared in oil. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s pure Florentine 
Oil. 

T. MILLER, being the original preparer of this In- 
valuable Medium, has the honour of supplying the 
President and Members of the Royal Academy. 

The SILICA WATER COLOURS are prepared in 
small squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colours, at 
present in use ; and can be forwarded per post to any 
part of the country, on receipt of an order for any 
of the under-mentioned tints, viz. : 

Tale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

Pale and Deep Grey. White and Black. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and for 
enabling the Artist to repeat bis touches without dis- 
turbing the colours already laid on, has been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a moat 
brilliant effect, and will preserve delicate tints unin- 
jured; in durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Glass Medium in Bottles . 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 
T. Miller respectfully directs the attention of those 
artists and amateurs who have not bad an opportunity of 
witnessing the gem-like lustre of the Silica Colours and 
Glass Medium to a picture painted by E. Corbould, Esq., 
‘The Woman taken in Adultery,* No. 66, in the present 
Exhibition of the New Water Colour Society, 53, Pall 
Mall, and lately purchased by H.R.H. Prince Albert, 
for two huudred guineas. 

MILLER’S Artists’ Colour Manufactory, 
66, Long Acre, London. 


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148 


THE ART-UNION, 


[June, 1842.' 


THE ART-UNIONS OP GERMANY. 

Urrlin, DiissrlSorf, and nrrsSrn. 


UNDER THE PATRONAGE OF H. R. H. THE DUKE OF CAMBRIDGE AND THE NOBILITY. 


The extraordinary popularity and success which 
have attended the transactions of the Society, de- 
nominated “ The Art Union” in this country ; the 
great benefit derived from its operations, both to 
Art and Artists ; the talent which it has been the 
means of eliciting and fostering, and the feeling 
for Art which it has caused to be engendered in 
many cases, and in many others improved; the 
liberality with which it has been supported, and 
the various channels that have by its agency been 
opened, for compensating the labours of British 
genius; stamp this Institution as the most im- 
portant existing evidence of the rapid growth of a 
taste for Art in this kingdom. 

It was indeed a happy idea that a trifling indi- 
vidual Subscription might accumulate a fund, suf- 
* ficiently large to purchase annually some of the 
best productions of the English School of Painting, 
the chance of possessing which should be within 
the power of every supporter of the Institution, at 
the same time that he had a certainty of an equiva- 
lent for his contribution in a specimen of Graphic 
Art, well worthy of acceptation. 

England cannot, however, claim the credit of 
having originated this plan of promoting the in- 
terests of the Fine Arts ; for as far back as January 
1829, a Society having similar objects, and whose 
operations were conducted upon nearly the same 
principles, was established in Diisseldorf, under 
the title of the Art-Union for the Rhenish Pro- 
vince* and Westphalia. The success which at- 
tended this Society, far exceeded the most san- 
guine expectations of its founders, and the splendid 
Engravings published by them as presentation 
plates to the Subscribers, are tolerably good evi- 
dence of the taste and spirit which animate its 
Councils. 

The remarkable and substantial benefits diffused 
by this Society did not fail to attract the notice of 
the Prussian Sovereign, under whose immediate 
atronage and countenance, similar institutions 
ave been formed in Berlin and in Dresden. These 
three Institutions form now a confederation of 
Art-Unions in Germany, under the especial favour 
of this patriotic King, who aids their funds by an 
annual subscription of .£100 sterling; and they 
further enjoy the protection and encouragement of 
all the Foreign Courts. 

In alluding again to the Art-Union of England, 
it cannot but occur to every lover of Art, that 
however great its popularity and success as an In- 
stitution, and however appreciable are the benevo- 
lent and patriotic motives which originated and 
have supported it, yet, that its sphere of compre- 
hension must necessarily be of a limited character, 
restricted as its operations are to the exclusive 
patronage of British Art ; but it cannot be doubted 
that the feeling for Art which it has created will 
seek to soar beyond the coniines of this Society, 
and that an appetite has been already created for a 
more extended and discursive exercise of taste, than 
the British School, with all its excellences, can 
present. 

In reply to this demand, the immensely varied 
and inexhaustible resources offered by the different 
Schools throughout Germany, the Communities of 
Artists of Berlin, Diisseldorf, Dresden, Frankfort, 
Munich, and other cities, afford annually a rich 
and endless variety, including productions of genius 
of that transcendantly beautiful character, for which 
the Schools of Germany are so justly famed. 

That there exists a strong desire in many of the 
Members of the English Society to become asso- 


ciated with those of Germany, is manifested to the I 
Councils of the several Unions, by the number of 
applications that have been made for admission to 
the subscription lists ; and to such an extent has 
this feeling evinced itself, that the establishment 
of a direct British Agency has at length been de- 
termined on. The Councils of the Art-Unions of 
Germany have, at their respective Meetings, at 
Berlin, Diisseldorf, and Dresaen, come to the reso- 
lution to establish in London a direct Agency and 
Depot, for the reception of the names of Subscri- 
bers, for the exhibition of their works, and for the 
distribution of their prizes ; thus affording to the 
English nation an opportunity of enjoying all the 
privileges of their Associations. 

They have therefore to announce that they have 
completed an arrangement with Mr. Henry Hering, 
9, Newman-street, Oxford-street, London, ap- 
pointing him as their Sole Agent and Manager for 
the United Kingdom. 

For the Reception of Subscribers’ Names ; 

For the Issue of Tickets ; 

For the Distribution of the Prospectuses and 
Prizes ; 

For the Exhibition of the Engravings which, 
from the Establishment of their Institutions to the 
present time, have been selected as the presenta- 
tion Prints to the Subscribers ; and for the man- 
agement of the general business of the German 
Art-Unions in Great Britain: and they beg to 
acquaint the Nobility and Gentry of England, Ire- 
land, and Scotland, that from Mr. Hering can be 
obtained eveiy information respecting their Insti- 
tutions, and that to him all communications are to 
be addressed. 

Mr. Henry Hering, in pursuance of the Re- 
solutions of the Councils of the German Art- 
Unions, has the honour to intimate to the Nobility 
and Gentry, the Lovers and Patrons of Art in the 
United Kingdom, that he has just returned from 
Germany, whither he had proceeded upon a mis- 
sion connected with the British Agency for these 
Associations, and that he has accepted at the hands 
of the Council the trust they have been pleased to 
confide to him in undertaking the management of 
their business in this country, and that, for the 
furtherance of this object, he has established an 
Office at No. 9, Newman-street, for the express 

urposes of the Institution, where will be exhi- 

ited daily, from Two o’clock till Six, Specimens 
of the Engravings which have been published by 
the Unions and presented to the Subscribers from 
vear to year, and where Books are opened for the 
Names of Subscribers in England, Ireland, and 
Scotland. 

Correct Translations from the German of the 
Prospectus issued by each of the Unions, viz., 
Berlin, Diisseldorf, Dresden, Munich, and Frank- 
fort, will be also registered for inspection, the 
main features of each of which so nearly assimilate 
to each other, and to those which form the ground- 
work and management of the English Association, 
that to reprint and circulate them in detail would 
incur an unnecessary expense to the Proprietary, 
and entail a troublesome task upon the reader. It 
may suffice to say, that the general Rules for the 
conduct of such Societies in all their sub-divisions 
of Management, Correspondence, and Finance, 
have bmi adhered to. Probably the only essen- 
tial particular in which the Unions of Germany 
differ from that of England, is the manner in which 
a selection is made of the Pictures which are to 
form the Prizes. In England, this important point 


is left to the discretion of the fortunate bolder of a 
Prize Ticket, giving him a latitude of choice from 
among a number of productions, good and bad; 
whereas in the German Associations one principal 
object is kept in view— that of improving the pub- 
lic taste, by delegating to a competent Committee 
of known judgment, Twelve in number, the choice 
and selection of such Pictures as will form the 
Prizes. A double advantage is thus gained; no 
encouragement is given to inferior productions 
of Art, nor is the Public taste left without some 
guidance by Professors of acknowledged experience 
in Art. 

It is farther intended, that if tha amount of the 
Subscriptions in England shall realize the expecta- 
tions of the Council, a Gallery shall be opened for 
Two Months in each year in London, for the re- 
ception and exhibition of all the Pictures that will 
form the Prizes at the next ensuing distribution, to 
which exhibition free access will be given to every 
bolder of a Ticket. 

A liberal proportion of Tickets will be appro- 
priated by the Councils of the several Unions 
for disposal to the Biritish Subscribers, each of 
which Tickets will bear the Signature of the accre- 
dited officers of the Institutions, and must be 
countersigned by Mr. Hering as their Agent. 

The price of the Subscription Tickets in either of 
the Associations, viz., Berlin, Diisseldorf, or Dres- 
den, will be 20s. each ; which sum will cover every 
expense of postage, duty, freight, and delivery at 
the Repository in Newman-street, of the Prizes 
that may be awarded, and also of the Engraving 
which will be presented to the holder of each 
Ticket. 

The price of each Ticket to lie paid in advance, 
for which a Receipt Ticket will be given, which 
Ticket will entitle the holder to all the advantages 
of the Institution to which it appertains. 

For the convenience of Subscribers residing at a 
distance, Share Tickets .will be forwarded in course 
of post, upon the receipt of a cash order, payable in 
London, or a Post-office order, or a crossed cheque. 

Each Subscriber will be entitled to one Copy of 
the Annual Presentation Engraving, from the date, 
and during the continuance, of his Subscription, | 
which will be delivered within from One to Three | 
Months after the close of every drawing ; and a Sub- 
scriber for more than one Share will be entitled to 
on Proof, and also be at liberty to purchase at the 
rate of 20s. each, an impression of any odo of the , 
Engravings that have been already distributed. 

One Month’s Notice will be given in the daily , 
journals of the day of appropriation, of the Prizes ' 
in each Union ; and it is Mr. Hering’s intention 
to proceed to Germany, in order to be present at 
the Drawing, and to represent the interest of 
every one who has, through his agency, subscribed * 
to these Institutions. 

A similar notice will also be given of the latest 
day on which Subscriptions can be received, after 
which the Lists for that year will be closed, and j 
the numbers forwarded to venous Committees of 
Management. 

Mr. Hering begs most respectfully to assure all 
who may honour him with their names as Sub- 
scribers to the German Art-Unions, that the ut- 
most endeavours shall be exerted by him to protect 
their interests, and to prove himself worthy of their ; 
confidence. 

German Repository of Art, 

9, Newman-street, Oxford-street, London. 

May 1842. 


N.B, — The Engravings are on View between the hours of Two and Six. 


London Printed at the Office of Palmer and Clayton, 10, Crane Court, Fleet Street, and Published by How and Parsons, 132, Fleet Street, Wane 1, tl*2« 

Digitized by VjOO^lC 


THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
Ac. Ac. Ac. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
Ac. Ac. Ac. 


No. 42. 


A MONTHLY JOURNAL OF THE FINE ARTS. 

LONDON : JULY 1, 1842. Price U . 


THIS JOURNAL BRING STAMPED , CIRCULATES , POSTAGE FREE TO ALL PARTS OP THE UNITED KINGDOM . 


T HE EIGHTH ANNUAL EXHIBITION 
of the NEW SOCIETY of PAINTERS in WATER 
COLOURS is NOW OPEN, at their Galleiv, ‘.Fifty-three, 
Pall-mall. Admission, Is. ; Catalogue, 6d. 

Jambs Fahiy, Sec. 

BRITISH INSTITUTION, PALL MALL. 

T HE GALLERY, with the WORKS of the 
late Sir David Wileib. R.A., and a Selection 
of Pictures of the Ancient Masters, is Open Daily, 
from Ten in the Morning nntil Six in ihe Evening.— 
Admission. Is. ; Catalogues, Is. 

William Barnard, Secretary. 

HE THIRTY-EIGHTH ANNUAL EXHI- 
BITION of the SOCIETY OP PAINTERS IN 
WATERCOLOURS, at their Gallery, Pall-mall| East, 
WILL CLOSE on SATURDAY, 9th instant.-Open 
each day from Nine till Dusk.— Admittance, One Soil* j 


WATERCOLOURS, at their Gallery, Pall-mall| East, 
WILL CLOSE on SATURDAY, 9th instant.-Open 
each day from Nine till Dusk.— Admittance, One Shil- 
Kng. Catalog ue, Sixpence. 

ANCHESTER ASSOCIATION FOR THE 
PATRONAGE OF THE FINE ARTS. — The 
Committee will l>e open, up to the end of September 
next, to the offer of an UNPUBLISH ED ENGRAVING, 
for distribution amongst the Subscribers of the present 
year; aizc not to be leas than 15 inches by 13 inches.— 
Applications in the meantime, and up to the said pe- 
riod. stating the lowest price per 100 for plain and proof 
impressions, to be addressed to the Honorary Secretary, 
at the Royal Institution, Manchester, to whom speci- 
mens, complete or in progress, may also be sent. 

T. W. Winstanlry, Hon. Sec. 

— _ LIVERPOOL EXHIBITION. 

r IE EXHIBITION of the WORKS of 
MODERN ARTISTS will take place in August 
next. All Works of Art sent for Exhibition to arrive 
at the Gallery not later than the 7th of August. 

No carriage expenses will be paid by the Academy 
except on works from those artists to whom the Exhi- 
bition circular has previously been forwarded. 

Mr. Grkbm, 14, Cbarles-street, Middlesex Hospital, 
is the Academy’s Agent for the transmission of Pic- 
tores. Jambs F. Eolinoton, 

Exhibition Rooms, Secretary to the Academy. 
Church-street, Liver pool- 

WEST OF SCOTLAND ACADEMY OF THE 
FINE ARTS. 

T HE SECOND ANNUAL EXHIBITION 
of the WEST OF SCOTLAND ACADEMY for 
the WORKS of LIVING ARTISTS, will open in 
8BrTBMBBB next, in the DILETTANTI BUILDINGS, 
51, Buchanan-street. 

No carriage or expenses will be paid by the Academy 
except on works sent by those artists to whom the 
Exhibition circular baa previously been forwarded. 

The f tffa. of September the last day for receiving 
Pictures. By order of the Council, 

J. A. Hutch isok, Secretary. 
Glasgow. July 1, 1843, Committee Rooms, 

68, St. Vincent-atreet. 

O ARCHITECTSr ENGINEERS, AND 

ARTISTS.— Mr. J. SMITH (late of the Royal 
Polytechnic Institution), Professor of and Lecturer on 
Perspective, is fullynrepared to give PRIVATE LEC- 
TURES and PRACTICAL LESSONS on Plan Draw- 
ing, Isometric, Military and Common Perspective, as 
applicable in the Architectural, Engineering, and Fine 
Arts; and which he will illustrate by a senes of ori- 
ginal and beautiful Models. 

AU applications to be forwarded to 50, Mortimer- 
street, Cavendish-square. 


T HE ART-UNIONS OF GERMANY.— 

UNDER THB PATRONAOR OP 

His Royal Highness the Duke of Sussex, 

His Royal Highness the Duke of Cambridge, 

And the Nobility. 

BERLIN, DUS3ELDORF, and DRESDEN. 

The price of the Subscription Tickets in either of the 
Associations, viz., Berlin, Dusseldorf. and Dresden, 
will be 20s. each, which will entitle tne holder to one 
copy of the annual presentation Engraving, which will 
be delivered immediately after the drawings, free of 
doty and carriage, and also a chance of obtaining s 
Work of Art, value of from jCTIO to j6'300. 

The Engravings, which from the first establishment 
of these Societies have formed the presentation Prints 
to each Subscriber, and which are executed in the very 
first style of Art, are exhibited daily at the German 
Repository. 9, Newman-street, between the hours of 
Two and Six. 

A Prospectus detailing the plans of management of 
the German Art-Union can be obtained or forwarded 
free, upon application to Hknry H bring. Sec., 

9, Newman-street, Oxford-street, London. 

ESTOF E N G LA N D ARtTunTo 
The WEST OF ENGLAND ART-UNION is 
established to promote the interests of Art in the 
Western Counties. 

The following is an outline of the plan upon which it 


will be found to embrace many improvements, which 
the experience of other Art-Unions has suggested as 
desirable. 

A Subscription of Half-a-Guinea to constitute Mem- 
bership. A part of the fund raised to be expended in 

the production of an Engraving, to one copy of which 
every Subscriber shall be entitled for each half-guinea 
subscribed. 

The surplus fund, after paying the necessary ex- 
penses of the Society, shall be divided into Prizes of 
various amounts, which will be distributed by lot 
among the Subscribers ; so that each Subscriber, be- 
sides receiving a Print fully equal in value to the 
amount of his subscription, will also have a chance of 
obtaining a valuable Work of Art as a prize. 

The winners of prizes will be allowed to select one or 
more Works of Art, to the amount of their prize, from 
either of the Exhibitions in Plymouth or Exeter, or 
from the Polytechnic Exhibition at Falmouth ; or they 
will be allowed to have Portraits of any members of their 
families, painted by an artist chosen by themselves. 

It is believed that this latter regulation will be found 
very acceptable to many prizeholders, and will afford 
encouragement to a class of artists who have hitherto 
been very much excluded from the benefits of Art- 
Unions. 

The drawing for 1842 will take place at a Public Meet- 
ing, to be held in Plymouth, the last week in August. 

To obviate the objection so frequently expressed by 
Subscribers to Art-Unions, of having to wait many 
months after the distribution of prizes, before the Print 
is delivered, arrangements have been made with 51 r. 
Ryall, the eminent engraver, to complete an engraving 
in his best style, from a very beautiftil picture by Mr. 
A. Penley, entitled * The Spring of the Valley the 
Prints to be ready for distribution to the Subscribers 
within one month of the time that the prizes are drawn. 
It is believed that this Print will be one of the moat 
attractive that baa ever yet been issued by any Art- 
Union. The impressions are to be delivered strictly 
in the order of subscription. 

Subscribers' names received at Messrs. Ackermann 
and Co., 96, Strand; Messrs. Reeves and Sons. 150, 
Cheapaide; Messrs. G. Rowney and Co., llathbone- 
place ; Mr. E. Ramsdeu, 13, Finch-lane, Cornhill. 


R oyal institute of British 

ARCHITECTS. 

16, Lower Groavenor-street. 
The Medals of the Institute will be awarded next 
year to the Authors of the best Essays on the following 
subjects 

1. Are synchronism and uniformity of style essential 
to beauty and propriety in Architecture? 

2. On the principles of Framing which directed the 
Gothic Architects m the construction of Roofs of great 
span to cover large Halls, such as Westminster, Croy- 
don. Eltham, Hampton Court, and those of some of the 
Colleges of Oxford and Cambridge, accompanied by 
diagrams, particularly showing the construction. 

The Soane Medallion will be awarded for the best 
design in illustration of the description of “ A Princely 
Palace," by Lord Bacon, in his Essay of Building, con- 
taining all the parts specified therein. 

The competition is not confined to members of the 
Institute. 

Each Essay and set of Drawings is to be delivered at 
the Rooms of the Institute, on or before the 81st of 
December, 1842, by Twelve o'clock at noon. 

Further information may be had on application to the 
Secretaries. 

R oyal polytechnic institution^ 

—The NEW ROOMS, which extend to Caven- 


anccessfully introduced. During the Midsummer Holi- 
days the Morning and Evening Public Lectures of Dr. 
Ryan, Professor Bachhoffner, and the other Lecturers, 
will be particularly adapted for the Youthftil Visitors, 
and the means will be used by which amusement and 
instruction can be conveyed in all the useful branches 
of practical science. The weekly list of lectures is 
suspended in the hall. On Mondays, Wednesdays, and 
Fridays, at Twelve o'clock, a Lecture on Galvanism ; on 
the alternate days, the Orrery. The Colossal Electrical 
Afachine, Dissolving Views, Diving-bell and Diver, Ac. 
Admission, One Shilling; Schools naif- price. 


Just published, in 4to., price j£2 2s., in French boards, 
and on royal paper; with proof impressions of the 
Plates, price £\ 4s., half morocco, gut tops, 

D iscourses delivered to the students 

of the ROYAL ACADEMY, by Sir Joshua 
Rkynolds. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnbt, F.R.S., Author of 
“ Hints on Painting," in 4to., price 10s. 

James Carpenter, Old Bond-street. 

Published in 4to., Price 10s. in French Boards; 
and on Royal Paper, 4tou, with proof impressions of 
the Plates, and a Portrait of the Author, Price jC7 7s., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by Qne Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Dutch, and English Schools: and 
Wood Cats. By JOHN BURNET, F.R.S. 

1. On the EDUCATION of the EYE. Second Edi- 
tion. Price £\ 5s. 

3. On COMPOSITION. Fifth Edition. Price 15a. 
in boards. 

3. On LIGHT and SHADE. Fifth Edition. Prica 
18s. in boards. 

4. On COLOUR. Fourth Edition. Price jfl 11s. «d. 
in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the New Edition of the Encyclopaedia 
Britannica— See the article on Drawing. 

James Carpenter, Bond-street. 


Digitized by 



ASSOCIATION FOR THE PROMOTION OF THE 
FINE ARTS IN SCOTLAND. 

A T the EIGHTH ANNUAL GENERAL 
of the ASSOCIATION for the PRO- 
MOTION of the FINE ARTS in SCOTLAND, held in 
£5 e ^ mb, y Rooma, George-street, Edinburgh, May 
28, 1842, on the motion of Sir William Newbigging, 
Andrew Rutherfurd, Eaq., M.P., waa called to the 
ClMUT, 

The Report of the Committee of Management having 
been read by the Secretary, the following Resolutions 
were thereafter moved, and unanimously adopted : — 
Moved by Robert Whigham, Esq., Sheriff of Perth- 
Bart * J! econded by * ir Ge0l X e M‘Pheraon Grant, 

. . ?• That.the Report now read be approved of, and that 
tins Meeting, after an experience of eight years of the 
practical operation of the system upon which the Asso- 
ciation is founded, are fully convinced that the consti- 
tudon which was originally adopted, is the beat which 
c puld have been chosen, combining, as far as it is pos- 
siblej in any society of the kind, the promotion of the 
nne Arts in Scotland, with an anxious attention to the 
interests of Art generally. 

Moved by Sir Gilbert Stirling, Bart. ; seconded by 
E. D. Sandford, Esq., Advocate,— 

2. That in pursuance of the plan of annually engrav- 
ing a Painting by a Scottish Artist, and with the view 
of securing the delivery of each Engraving, within the 
MD Ml penod of the subscriptions out of which its cost 
is defrayed, the Committee of Management for the year 
1842-43, be authorized to make the necessary arrange- 
ments to obtain a Line Engravingof Mr. R. S. Lau- 
the 1 Glee Maiden,’ tobedis- 


~ w ui mr. iv. a. Lau- 

der's beautiful picture of the 1 Glee Maiden,’ to be dis- 
tributed among the Members for the year 1843-44. 

Moved by H.;Glassford Bell, Esq., Advocate ; se- 
conded by Archibald Swinton, Esq., Advocate,— 

3. That the thanks of the Meeting be given to the 
Committee of Management for the year 1811-42, for the 
able and iudicious manner in which they have dis- 
charged tne duties with which they were entrusted ; 
and that thanks be also given to the various Honorary 
Secretaries in Scotland, England, Ireland, and foreign 
countries, to whose spirited and patriotic exertions the 
Association greatly owes its continued prosperity. 

Moved by Sir William Drysdale; seconded by John 
Borthwick, Esq., of Crookston,— 

4. That the following gentlemen be appointed the 
Committee of Management for the year 1842-43. viz. 

The Right Hon. the Earl of Stair. 

The Hon. Lord Meadowbank. 

The Right Hon Sir George Warrender, Bart. 

Sir Gilbert Stirling, Bart. 

The Hon. and Reverend Grantham York. 

Professor Wilson. 

William Murray, Esq., of Henderland. 

Thomas Maitland, Eaq., yr., of Dundrennan. 

Professor Trail. 

E. D. Sandford, Esq. 

Dhvid Maclagan, Eaq., M.D. 

John T. Gordon, Esq., Advocate. 

Arthur Forbes, Esq. 

Mark Napier, Esq., Advocate. 

i- “Q** Secretary and Treasurer. 

Sir William Forbes, J. Hunter & Co., Bankers. 
Moved by William Steuart. Esq., of Glenormiston,— 
n A That the thanks of the Meeting be given to Mr. 
Rutherford for his c onduct in the Chair. 

Now ready, 

D ICKINSON’S RUSTIC FIGURES, chiefly 

executed with the Brush in Litbo-Tint. 

These are the Author’s Fac-similes of his Sketches. 
There are 24 Plates, printed on imperial 4to., bound 
in cloth, price 21s. 

Dick inson and Son, 114, New Bond-street. 

SCOTTISH UNION FIRE AND LIFE INSURANCE 
_ . , COMPANY. 

Instituted 1824, and incorporated by Royal Charter. 
London Board. 

Charles Balfour, Esq. I Robert Murray, Esq. 

J. Deans Campbell, Esq. R. Oliverson, Esq. 

J. Gordon Duff, Esq. Divie Robertson, Esq. 

Robert Gillespie, Esq. 1 ” - ~ ~ 

James Gooden, Esq. 

John Kingston, Esq. 


THE ART-UNION. 

Valuable Pictures by Sebastian del Piombo, Titian, and 
Poussin, Berchem, Vanderneer, Grenze, and other 
distinguished Artists, the Property of a Noblem an 
and Connoisseur. 

■VTR. PHILLIPS begs leave to announce 
G R K AT^ROOMS^N ^OND- JtRE KT^n^^H U RS- 

Schools, m particular a work of Sebastian del Piombo, 
representing a theological disputation between Martin 
Luther and Melancthon, in the presence of a Cardinal of 
the period, and hia secretary, who ia standing by his 
side : the manner in which the subject is treated, and 
the historical recollections attached to those distin- 
guished reformers, render it a most interesting picture. 
Also, a pictureof 4 Christ Mocked,’ by Titian ; 4 St.John,’ 
by Bronzino ; 4 Portrait of Bianca Capella,’ by Allor, ; 
two 4 Cabinet Landscapes,’ by Gaspar Poussin: a 
4 Landscape and Cattle, of high finish, by Berchem ; a 
Moonlight,’ by Vanderneer, of high quality ; a whole- 
length Portrait of. the ‘Duke of Monmouth,’ by Sir P. 
Lely J * subject, 4 Endymionfand Diana,’ by Greuze, of 
beautiful execution ; and other works of great inter- 
est by 

P. Veronese Swaneyvelt Gardi 

Murillo De Witte Boucher 

Tintoretto Teniers Wilson 

C. Barratti P. Neefs Morland 

Cuvp Canaletto &c. 

May be viewed two days preceding the sale, and Cata- 
logues had at Mr. Phillips’s rooms and office. 

WO LETTERS to an AMATEUR or 
YOUNG ARTIST, on PICTORIAL COLOUR 
and EFFECT, and the means to be be employed for 


[July, 

T he PEOPLE’S EDITION of the WORKS 

of BURNS. Embellished by no leas than Thirty- 
three fine Plates (after Wright and other Artista), illus- 


H. F. Sandeman, Eaq. 
John Small, Esq. 
Daniel Stoddart, Esq. 


Sutherland Mackenzie, Esq., Manager. 
London Offices, 449, West Strand, and 78, King Wil- 
liam-street, City. 

Life Department. 


years vary from 41 io 85 per cent, on the premiums 
paid, and average 14 per cent, on the sums assured— a 
result, it is believed, far more favourable to the assured 
than any other Company has hitherto accomplished, 
when the low rates of premiums charged by this Cor- 
poration are taken into consideration. 

The next division of the profits will take place in 
December 1846, being an interval of five years, and 
persons entering before the 1st of August next will 
eajoy one year’s additional rating, and rank at next 
division of profits for five complete years. 

Forms of proposals may be had at the offices, 449, 
W«t Strand, and 78, King William-street, City. 

F. G. Smith, Secretary. 


7r . j » — us ciumujrcu 1UI 

their production. By Robert Hendrib, Esq., jun. 
Price 5s. J 

Published and sold by Simpkin, Marshall, and Co., 
Stationers’ Hall-court; and T. Miller, Artists’ Colour- 
man, 56, Long-acre. 

Just published, imperial 8vo., handsomely bound. 24s 

T HE USE of a BOX of COLOURS. By 
Harry Willson, author of 44 Fugitive Sketches 
in Rome, Venice,” &c. &c. Being Practical Instruc- 
tion on Composition, Light and Shade, and Painting. 
Illustrated with beautiful Patent Lithotint examples, 
plain and coloured. Also a Box of general Landscape 
Tints have been prepared to accompany the same. 

London : C. Smith, 34, M&rylebone Quadrant : Tilt 
and Bogue, Fleet-street; and all other Publishers, Sta- 
tioners, See. 

Just published, in royal 4to., price sBi 5s. bound, 

R ustic architecture — 

Picturesque Decoration* or Rural 
Buildings in the Use of Rough Wood, Thatch, 
&c. Illustrated, by Forty-two Drawings, ; consisting 
of Plans, Elevations, Sections, and Perspective ViewB ; 
the Doors, Windows, Chimney Shafts, &c., drawn 
geometrically to a large acale; with descriptions and 
estimated costs. By T. J. Ricauti, Architect. 

44 We have repeatedly and strongly recommended this 
elegant and useful work, and can safely say, that we 
think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardener’s Magazine. 

James Carpenter, Old Bond-street. 

UNDER THE SUPERINTENDENCE OF THE SO- 
C1ETY FOR THE DIFFUSION OF USEFUL 
KNOWLEDGE. 

I To be continued every alternate month, the Second 
Number of 

A SERIES of DIAGRAMS, Illustrative of 
the Principles of Mechanical and Natural Philo- 
sophy, and their Practical Application. Drawn on 
Stone and printed in Colours. 

%* Each Number will contain Three Plates (264 
inches by 19), and the Series will commence with 
Mechanics, which will be comprised in Seven Numbers, 
No. I.— THE LEVER. No. II.— WHEEL and AXLE. 
Chapman and Hall, 18 6, Strand. 

Just published, 

T HE BRITISH and FOREIGN REVIEW, 
No. XXVI. 

1. Autobiography of Henry Steffens. 

2. The Church and the State. 

3. Sorrow’s Gipsies in Spain. 

4. Pope Boniface VIII. 

5. The Quarantine System. 

6. The Sephardim, or Jews in Spain. 

7. Lady Authoresses.— Books of Travels. 

8. The Speeches of Daniel Webster. 

London : R. and E. Ta ylor, Red Lion-court, Fleet-street. 

Now ready, for the Sketching Season, 

S HADE’S NEW PATENT PERSPECTIVE 
DELINEATOR and SKETCHING APPA- 
RATUS ; by means of which Landscapes and all other 
objects can be drawn in true Perspective, with the 
utmost facility, without failure, and with the same ease 
as writing a letter. 

Also, SHADE’S PATENT METALLIC SKETCH- 
ING SEATS, combining the usual strength with a 
tenth part only of their bulk and weight. 

Sold at SMITH and WARNE’S, ARTISTS’ REPO- 

LONDofc 34 * MARYLEBONESTREET > QUADRANT, 


each Poem, by Allan Cunningham. In one hand- 
some volume, super-royal 8vo., cloth extra, price 10s. 

This will be found the most complete and best edi- 
tion of the Works of Burns yet offered to the public, 
and the only one edited by and published under the 
superintendence of Mr. Cunningham. 

London: George Virtue, and sold by all Booksellers. 

%* Be careful to order the 44 People’s Edition.” 

OTICE.— PATENT RELIEVO LEATHER 
HANGINGS and CARTON-TOILE OFFICE, 
52, Regent- street, next to the County Fire Office.— The 
Nobility and Public are respectfully informed, that our 
Works of Art in the PATENT RELIEVO LEATHERS, 
the CARTON-TOILE, &c., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 52, 
Regent-street, where an immense number of Designs 
are constantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels, Caryatides, 
Foilage, Pat t eras, Busts, Mouldings, Book Covers, 
Album Covers, Screens, &c., &c., in every style of 
Decoration, and for every possible use to which orna- 
mental leathers can be applied, and at a considerable 
reduction in price. We oeg to notice, that this Firm 
only will continue to receive monthly from na all new 
Patterns and Designs in our manufactures. 

L. COMETTI and CO., 10, Rne Baaae da Rem Dart. 
Paris. — May 25, 1842. 

WINSOR AND NEWTON'S 
COMPRESSIBLE METALLIC TUBES 

TO SUPERSEDE BLADDER COLOURS 

FOR OIL PAINTING. 

W and N.'a Compressible Metallic Tubes 
• are made on an entirely novel plan, of a 
aeries of layers or rolls of extremely thin metal ; they 
are extremely light, yet have great strength and tough- 
ness, so that they are not liable to split and leak, aa is 
the case with all Tabes made on any other plan. 

By a process peculiarly original, W. and N. line every 
Tube with a thin membranous substance, and thereby 
prevent the very injurious effect occasioned to colours 
which are long kept in direct contact with a metallic 
surface. The moat delicate colour is thus effectually 
protected from any chemical action that might other- 
wise cause its deterioration. 

The oil colour ia ejected from theae Tubes in a man- 
ner similar to that in which colour ia expressed from 
the common bladder colour, by squeezing or 
ing between the thnmb and finger, to that the colour ia 
always kept gathered up in a compact state ; the empty 
part of the Tube remaining closed or compressed be- 
hind it. 

The bottom of the Compressible Tube is cemented in 
a manner entirely new. which gives a security to the 
Tube not before obtained, and renders it impossible 
for the contents to be forced out through or 

imperfect closing. 

W. and N. beg to apprise their Patrons that their 
new manufacture of Compressible Metallic Tubes ia 
entirely original and, excepting the tabular form 
(which has been generally adapted in variooa contri- 
vances for preserving oil colours for the last fifty years), 
their Tubes are not similar in tbeir manufacture to any 
of the numerous other tnbes applied to the preservation 
of oil colours now in existence. 

They are light and portable, and may be packed with 
safety among linen or paper. They preserve oil colour 
for any length of time, are peculiarly adapted far ex- 
pensive colours, and offer the moat perfect mode of 


sending oil colours to warm climates. 


The advantages of these Tubes maybe thus enumerated 

The preservation of the colonr free from skint. 

The cleanliness with which the art of painting may 
be pursued, either by artist or amateur. 

The readiness with which the colonr may be pressed 
from the tube without the necessity of laying down the 
palette and brushes. 

Freedom from smell, and danger of breaking or 
bursting. 

Economy in use, and moderate price. 

TO BE HAD, WHOLESALE AND RETAIL, AT 

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38, RATHBOKE PLACE, LONDON. 

Price fid. each, filled with colour (Cobalt, Madder, 
Lakes, &c., extra as usual). 


Digitized by 


,oogl 


1842 .] THE ART-UNION. 151 


THE ART-UNION. 



LONDON, JULY 1, 1843. 


CONTENTS. 


I. ENCAUSTIC PAINTING 161 

3. AN NX AMI NATION INTO THE QUALITIES 

AND NATURE OP THE OROUNDS 
ADOPTED BY THE OLD MASTERS POR 
OIL PAINTINGS 154 

3. DECORATION OP THE NEW HOUSES OP 

PARLIAMENT 156 

4. THE WILKIE TESTIMONIAL 158 

5. ROYAL IRISH ART-UNION 158 

6. THE BRITISH INSTITUTION 159 

7. THE ROYAL ACADEMY 160 

8. THE ARTS IN CONTINENTAL STATES : 

ITALY; prance; bbauport; 
SWITZERLAND; GERMANY; GREECE; 

aprica; Russia 163 

9. metropolitan improvements 163 

10. SIR JOSHUA REYNOLDS 164 

II. PUBLIC WORKS IN PROGRESS 165 

13. VARIETIES: 


ADDITIONS TO THE KNIGHTHOOD; 
DRAWINGS BY RAPPAELLB J COLOGNE 

cathedral; amateur artists* 

CONVERSAZIONI; THE TOWER; BUR- 

ford’b panorama of cabool; the 
DULWICH collection; WILK1E*S 
PALETTE; MINIATURES ON MARBLE; 


SALES OP THE MONTH 166 

13. THE SCOTTISH ART-UNION 166 

14. CORRESPONDENCE: 


A NEW VEHICLE; THE SCOTTISH 

art-union; art-union prints; 

PROPOSED SOCIETY POR PRODUCING 


PINE ENGRAVINGS 169 

15. REVIEW OF PUBLISHED WORKS 169 


ENCAU8TIC PAINTING. 

HISTORY AND PROCESS. 

Therb is no subject upon which our information 
is, probably, more uncertain than on the rise and 
progress of the Fine Arts in Greece. The general 
impression which the Homeric pictures of society 
leave on the mind of the reader is, that the useful 
and the decorative Arts were so far advanced as 
to enable the wealthy to live not only in plenty 
but in splendour. The delicious gardens of 
Alcinous, the magnificence of his palace, the in- 
troduction by the Phoenicians of ivory, purple, 
and incense from Arabia, the rich presents made 
to Penelope by her suitors, the voluptuous baths 
of Circe, chariots of war — especially that of Priam 
— and the care evidently evinced in dress, all argue 
a state not merely of local, but of general culti- 
vation and refinement. But apart from the much 
debated question, as to the origin of the Iliad and 
Odyssey, age, nay very existence, of Homer, 
which Vico, Wolf, and Heyne, have argued with 
such profound learning and wonderful talent, it 
is to be considered that these views of the social 
state may be drawn, rather by the force and 
skill of the poet’s imagination, than by a mind 
conversant with the existing features and relations 
of life. In the early period of society, memory 
and imagination are more cultivated than reason 
or judgment, the known is exaggerated, the un- 
known magnified; men are, at this period, 
“ bodies without reflection, all feeling for 
peculiarities of character, all imagination to seize 
and enlarge them, all invention to refer them to 
classes which the imagination has created the 
poetic faculty is more general, less fettered, and 
assumes the state it depicts, by the comparison of 
the associations and characteristics of the present 
with those of an age preceding. Every account of 
the origin and progress of nations has been 
hitherto essentially mythic ; either the god has 


descended to earth, or the first instructor has 
been considered as divine; for as speech and 
memory precede the means of narration by 
written or arbitrary signs, the fact is embellished 
by fiction, and tradition is recorded as history. If 
correctness of detail, as regards the advancement 
of Art, might be expected, it would surely be so 
from the Greeks ; for their literature was exten- 
sive, national, and original ; they advanced the 
Arts, they borrowed or invented, and combining 
taste with judgment, beauty of form with 
the impression of duration, they made them at 
once characteristic of their genius, and the 
necessary guides, the very discipline of our own. 
Yet of this intellectual development the detailsmust 
be traced from the fragments which time, and far 
more the passions of man have spared, or from 
the compilations of Greek and Latin writers of 
comparatively modern date. The cause of this 
is at once seen ; education was for the most part 
oral, and there was no press. The Greek lived 
under the influence of an all pervading, all en- 
larging public life, by which the knowledge of 
one became the property of all; drawing and 
painting were regularly comprehended within the 
circle of a liberal education, and together with 
other branches of instruction, they formed the 
class of the fyxvxXio- ir ouhv^ouroL. 

Thus, works of theoretical or technical detail 
were less requisite or became the property of the 
rich ; their number, originally limited, could 
hardly escape the destruction which ensued upon 
the subjugation of the land, even if we exclude 
from our consideration, not only the lapse of time, 
but the perishable nature of the materials on 
which they were written. Proof, or the evidence, 
therefore, of any such process as that which now 
forms the subject of inquiry, must rest greatly 
upon references found in one author to the works 
of another, the validity of these depending upon 
their amount, copiousness, and incidental cha- 
racter. Thus, error here will be — 

“ velut sylvis, ubi passim 

Palantes error certo de tramite pel lit. 

Ille sinistrorsum, hie dextrorsum abit, unus utrique 

Error, sed variis illudit partibus.” 

Encaustic is derived from the Greek E yxotiu, 
and is applied as a term in painting to such works 
as were chiefly executed through a wax medium, 
and in which, by heating or burning, the colours 
were fixed in their original splendour. But the 
use of this term seems to have been considered as 
of doubtful correctness ; as Pliny, speaking of the 
artist Nicias, says, “ Nicias scripsit se inussisse : 
tali enim usus est verbo .” It is evidently an art 
of great antiquity, and was employed for tabular 
pictures and for mural decoration. We have 
evidence of many celebrated painters by 
whom it was practised, Arcesilaus, Polygnotus, 
Apelles, and Lala Cyzicena, who was eminent for 
her portraits of women executed on ivory with 
the oestrum. Notices of its general use are to be 
found in authors, from the earliest period to the 
reign of J ustinian. This the reader may verify by 
reference to the passages quoted by J. C. " Bulen- 
gerus de Picture,” &c., in the collections printed 
by Gronovius ; or in those works which will be 
subsequently mentioned in connexion with this 
inquiry. Pliny and Vitruvius are the authors 
upon whom we must principally rely; and guided 
by them, I shall consider Encaustic as used for 
tabular pictures, as employed for mural decora- 
tion, and narrate in both cases the attempts 
which have been made to recover the ancient 
process. In book 35, cap. 11, s. 41, Pliny says, 
“ Encausto pingendi duo fuisse antiquitus genera 
constat, cere, et in ebore, cestro id est veruculo, 
donee classes pingiccepere. Hoc tertium accessit, 
resolutis igni ceris penicillo utendi,” — from this 
modem writers have chiefly derived their infor- 
mation, to this they all refer ; and hence we shall 
consider four modes — encaustic on the tablet 
with wax, on ivory, ships, and on walls. Of 
this, as applied to ships, the process may be at 
once described. It may not have been unlike 
what is called breaming, for brenning or burn- 


ing in, when resin, tallow, tar, and brimstone, are 
melted together and put on while the ship’s sides 
are made hot by a fire of reeds. It was used also 
for decoration, as we find in Ovid — 

** ■ - • ■ Et picta coloribus ustis 

Ccslestum matrem concava puppis habet.” 

Fast. Book 4, 376. 

In this manner the various forms of gods, 
animals, plants, &c., were usually described, and 
these were often added as ornaments to other 
parts also of the ships, as plainly appears from 
the treatise by Lazarus Bayflus de Re Naval! ; 
which the reader will find among the collections 
of Gronovius. 

The first mode of tabular encaustic appears to 
have been no more than a deep drawing upon a 
coloured ground of wax, by the removal of which 
where the outline was, by means of a stylus 
(cestrum, veruculum), the bright or polished sur- 
face of the marble, ivory, or wood, on which the 
wax was spread, became visible. The second was 
a kind called “ Stiello,” which consisted in en- 
graving by means of a sharp heated pointing iron 
upon ivory tablets, and likewise by means of the 
broad part of the stylus of filling up the incisions 
with coloured wax, which was then apparently 
fixed more carefully by heat. The third, if not 
the same, was greatly similar to the modem pro- 
cess, inasmuch as upon a waxed ground on which 
the drawing was sketched by the stylus, the wax 
colours were laid on by means of a brash or hair 
pencil, and then blended more evenly and in- 
nately together by the stylus, and finally fixed by 
the heater (cauterium), passed before the surface. 
In this respect another method may have pre- 
vailed : either the wax thoroughly blended with 
earths, was divided by the heated stylus, softened ; 
arranged upon the ground of the picture, accord- 
ing as it was requisite for local colour, half tints, 
or shadow, and then toned more carefully and 
artistically by means of the brush ; or else the 
wax was dissolved, the colours mixed therewith, 
and then laid upon a prepared coloured wax 
ground, either immediately from the melting pot, 
or through the employment of a volatile oil by 
the brush, and to this, after a superficial coating 
had been given, heat was applied. This might, 
therefore, be strictly considered as painting with 
the brush ; which certainly was not solely used for 
ship decoration, and in which the stylus, so 
variously described, seems also to have been em- 
ployed. Ship painting was a custom of greater 
antiquity than Pliny intimates; or why has 
Homer used, as regards the Greek vessels, the 
terms /uuXrotiraptjo? and 4>o*vwt owetpyof. and the 
discussion on the term, or seems 

after having served many purposes, to be finally 
admitted to be the brush. Recent German 
writers are of opinion that with respect to the 
third method, it could hardly be employed for 
mural decoration, or even for tabular paintings 
requiring a careful and delicate treatment. In 
reply to this, an analogy has been attempted 
between this stylus-wax, and crayon painting; 
but the stylus is opposed to a light, free artistic 
use, yet, although this is the case, and therefore 
unsuited for easel painting, it was, according to 
many, nevertheless, employed for wood and 
marble furniture and parts of architectural 
decoration, though for this latter purpose, as well 
as for statues, a resinous wax-coloured coating 
was used. I trust, however, to be enabled to 
show that while the stylus was employed in 
easel-pictures, the process of mural decoration 
was conducted in a different manner. The Abbd 
Zumbo, and a Spanish artist, Palomino, were 
among the first who sought to restore this 
ancient art. But Zumbo, who is reputed to have 
discovered the process, was a man of a morose, 
jealous, and frivolously sensitive disposition, who 
avoided society, fettered his heart by the selfishness 
of its own pulsations, and occupied his time in the 
composition of subjects, the reflected image of his 
own semi-crazed imagination. He refused his 
secret to the world, but betrayed it to a friend, 


igitized Dy v 



152 


THE ART-UNION. 


[JULT, 


whose genius liniited his powers to the construc- 
tion of anatomical figures. Palomino added 
much to knowledge in his treatise “ dell’ Arte della 
Pittura ;” he was followed by the erudite Louis de 
Montjosieu (Dcmontiocius) inhis “ G alius Romm 
hospes,” 4to, 1585, partly reprinted by Gro- 
norius, but complete; of the greatest rarity, 
by Le P. Hardouin in his commentaries upon 
Pliny, 1723 ; by Bachelier in the “ Memoirs 
of the French Academy and Charles Nic. 
Cochin with Jer. Ch. Bellicard, in 1754, “ Re- 
flexions sur la peinture des Anciens,” Ac., chiefly 
with reference to Herculaneum. But it is to 
Count Caylus, and to the Abb£ Vincenzo 
Requeno that we are chiefly indebted for such 
approach to certainty of information as we may 
possess ; and it is upon their theory, and the ex- 
periments they instituted (Montabert and Fern- 
bach, perhaps, excepted), that all modern methods 
have been founded. Endowed with a well edu- 
cated and intelligent mind, and to the last hour 
of his life indefatigable in the pursuit of a favourite 
subject of inquiry — the “ Arts of Ancient Greece,” 
Count Caylus, in addition, possessed the means 
of instituting an extensive series of experiments, 
and of obtaining the co-operation of the most 
eminent continental scholars and artists of his | 
time. Of prior methods, Bachelicr’s was con- 
sidered, by the Acad&mie des Sciences, as the 
most worthy of attention. It consisted in dissolv- 
ing the wax, and reducing it to a soft soap by 
means of salts of tartar. An account of this the 
reader will find in an elaborate article in the 
“ Dictionnairc EncyclopSdique,” article, “ En- 
caustique.” Self confidence is the basis of suc- 
cess ; a feature not deficient in the character of 
Caylus. He obtained the assistance of M. Majault, 
an eminent chemist of Paris, and on the 25th 
July, 1755, he read his first “ Memoir on En- 
caustic Painting” to the French Academy. It is 
tedious to trace the narrative of unsuccessful effort, 
but progress of any kind, to be certain, must be 
gradual ; of human acquisitions much may be 
the gift of circumstance, but more is obtained by 
the silent experience of time ; we possess, and we 
extend our possessions, we establish principles 
and verify details, learn 

44 What reinforcement we may gain from hope. 

If not, what resolution from despair. 1 * 

And thus experiments, properly conducted, are 
not only valuable, as regards the specific result 
at which they aim, but with respect to the 
collateral truths and deductions which they 
develop or maintain. The particular object of 
his attempts must, however, be strictly kept in 
view. It was not to discover a method of en- 
caustic painting, but the method of the Greeks. 
To employ wax as a vehicle for colour ; oil of 
turpentine was suggested as a dissolvent ; but as 
Pliny is silent on tliis, it was not reasonable to 
assume it to be the means adopted ; and as he 
mentions wax, colour, and heat alone, any 
assimilation to the ancient mode must, of 
necessity, depend on or bear strict reference to 
this description. Now, to do this with exacti- 
tude, the colours were to be blended with the 
wax and kept sufficiently fluid for the brush. 
However simple their apparent fusion by heat, 
yet the difficulty of doing this without burning, 
and of maintaining them always prepared for use 
in works of an extensive nature, induced Count 
Caylus to try warm water for this purpose. A tin 
vessel was made, the lower part filled with 
boiling water, and to this a piece of grained glass 
was attached, on which the colours were mixed by 
a heated molette of marble. Thus prepared, 
they were removed In a fluid state and placed on 
plates to dry. To maintain them sufficiently 
fluid, a tin stand was made, the upper part of 
which held a series of gloss cups immersed in hot 
water. A thick piece of glass in a frame similarly 
heated served for the palette and the picture ; 
the panel being first thoroughly saturated with 
a coating of wax, was suspended in a brass stand, 
at the back of which hot water as before was 
placed. A head of Minerva thus painted, by 


M. Vien, so far realized expectation, as to 
induce increased exertion. For the second 
method, wax prepared as above was employed, 
as if in distemper painting, either on the bare 
panel or on a prepared ground of wax, and when 
the picture was finished, a heater passed before it, 
the wax was fixed on the panel, and greater bril- 
liancy imparted to the colours. But this process was 
found to be tedious and difficult, and the result but 
slightly in advance of the preceding. The third 
method was conducted on the principle of com- 
bining distemper with encaustic. The panel 
first rubbed over with pure wax, this was 
worked into the grain by heaters applied to the 
surface. The colours employed were those 
used in oil-paintings, but prepared in pure or 
slight gum water. But not readily adhering 
to the wax, Spanish chalk or white was 
lightly spread upon it, and then they were 
laid on; and the picture finished, heat was 
variously applied until they were absorbed 
and fixed, and came out in brilliant tones. This 
process, the heat excepted, was early adopted by 
the Egyptians ; and Gough, in his “ Sepulchral 
Monuments,” mentions a coffin which had been 
covered with a portrait not very dissimilarly 
painted. The count’s fourth method differed 
from the preceding but in the place the wax 
occupies. The picture, painted in water-colours 
on the panel, was covered over with a coating 
of wax, which was then fixed by heat. These ex- 
periments soon attracted attention ; various com- 
munications were made to diftercntsocieties ; and 
Pliny and imagination were alike tortured to 
ensure success. In 1759, Mr. Josiah Colebrookc 
read a paper to the Royal Society, by which it 
appeared that of seven experiments, founded on 
the third method of Count Caylu9, all more or 
less failed. He recommends the use of mineral 
and metallic colours, as the acid in many water- 
colours, when painted on an alkaline ground, a9 
chalk, cimolia, Ac., totally changed their shades. 
Some specimens of the results obtained by Count 
Caylus’s third method were exhibited. It con- 
sisted of pictures painted in water-colours upon 
paper or panels prepared with a ground of 
Spanish white and fish glue, over this a coating, 
of three parts white wax and one part white resin 
melted together, was lightly but evenly spread 
with a brush ; the picture was then placed 
before the fire until the varnish became entirely 
absorbed and looked dry, when it was gently 
rubbed with fine linen cloths. This process was 
successful, and for some time a fashionable 
amusement. Such was the state of our in- 
formation with respect to encaustic painting, until 
1787, when the Abbe Don Vincenzo Requeno com- 
menced hi9 pursuits, not only by a diligent collation 
I and examination of former opinions, but by a rigid 
test of the validity of the methods that had been 
either before adopted or recommended. As he did 
more than any by whom he was preceded, and as 
the history of his opinions and experiments Is that 
of encaustic, I shall endeavour, in so far as space 
will permit me, to explain them. He follows the 
statement of Pliny, admits the three methods of 
encaustic, two of which were practised with the 
stylus, and one with the brush (Julius Pollux 
may be also cited ns an authority for the first). 
The difference between the stylus and the brush- 
encaustic process was this — in the former case 
the colours were worked by a hot graver, and in 
the latter they were fixed by heat. The wax used 
was punic-wax — in point of fact bees- wax 
bleached and purified ; and this opinion will be 
found zealously maintained by Requeno in his 
controversy with Signor Lorgna. The colours 
employed were partly natural and partly ar- 
tificial ; but as upon this point late re- 
search has added much to knowledge, I would 
refer the reader rather to “ Stieglitz ueber die 
Mahlerfarben der Griechen und Romer,” and 
other more extensive German works. The lique- 
faction of the wax, so as to render it sufficiently 
fluid as a vehicle, was effected by bitumens, or 
resinous gums, answering to our oils ; this he 


supports by Pliny, book 12; cap. 2, and Julia* 
Pollux, book 7, cap. 8. Upon these general 
views of the encaustic painting of the Greeks, 
deduced from an extensive survey of ancient and 
modem criticism, and the opinions of several 
chemists and eminent artists, Requeno, as 
Caylus had recommended, conducted his ex- 
periments, still limiting himself to the solution 
of the question— in what consisted the encaustic 
process of antiquity ? Those experiments I now 
propose to detail. 

After various attempts to complete encaustic 
pictures, by means of bitumens and Greek pitch, 
combined with wax, he resolved to recommence 
his experiments with gum mastic ; this, in con- 
junction with wax, being one of the processes by 
which statues were varnished and preserved by 
the Greeks. For this purpose five ounces of 
gum mastic were mixed with two of white wax, 
and kept in motion over a slow fire until 
thoroughly dissolved. This mass was then 
blended with the colours usually employed in 
oil-painting, and kept in glass cups. The pic- 
ture was painted on panel or linen as before, and 
when finished a superficial coating of white wax 
was laid upon it ; heated by a brazier ; and 
finally rubbed with silk or fine linen, until 
the colours were absorbed, and the surface be- 
came hard and polished. Another, and probably 
more perfect method was the following: — Two 
parts of white wax and four of Greek pitch were 
placed in a vessel, and when well dissolved, white 
lead in proportion was mixed therewith. A 
panel, well polished and smooth, was covered 
with this in its most heated state; and when 
cold, all irregularities on the surface were re- 
moved by the spatula. The surface being then 
polished, the outline is traced either by cliarcoal 
or the stylus. The colours are prepared with 
gum inastic, with which, and water, a kind of 
water-colour paiuting is produced, to complete 
which, a coating of white wax is placed over it ; 
and then subjected to heat by a brazier of live 
coals. 

This is not dissimilar from the third method of 
Count Caylus, and according to Requeno, the 
third mentioned by Pliny ; the first and second 
being those referable to the heated stylus. The 
advantage of this consisting in the duration of 
the painting, protection from damp and altera- 
tion of colour is therefore considered to be the 
“Tertium accessit, resolutis igni ceris penicillo 
utendi, quae picture in navibus nec sole, nec sale, 
ventisque corrumpitur.” I must here conclude 
the remarks offered upon encaustic pictures, 
painted by the brush , and endeavour to explain 
the method indicated by Pliny under the terms, 
Cera .... cestro id est veruculo. It was a 
mode undoubtedly practised by the Greeks and 
Romans during the most flourishing period of 
Art, until the time of Pausias ; and difficult as it 
may be to trace the lost Arts of antiquity, there is a 
pleasure in noticing the few vestiges which time 
and neglect have spared. The following appears 
to have been the process : — Dissolve white wax 
and gum mastic in equal parts, with this the 
colours in powder are next mixed in sufficient 
quantity to absorb the hot wax. A polished board, 
rubbed with a coating of wax, serves as the 
ground of the picture; on this the outline is 
traced. The stylus is made of iron, or of finer 
metal : on one side sharp and pointed, on the 
other flat and conical ; an ordinary erasing knife 
will represent it. A brazier is kept at hand to 
heat them ; as they must be of various sizes. 
The colours should be kept arranged in glasses, as 
according to Varro, “ Pictores loculatas habent 
arculas in quibus discolorcs sunt cerae.” With 
the point of the stylus heated so as to melt, but 
not to bum the colours , a portion of wax is taken, 
laid on the ground, and the different tones are 
formed by blending the colours with the broad 
| conical side of the stylus, taking care to keep it 
| regularly heated. In this manner pictures have 
j been painted by Don Joseph Ferrer. The method 
I upon ivory in ebore, cestro with the heated stylus 


1843. 


THE ART-UNION 


153 


has been described ; it was chiefly applicable to 
portraits, or the decorative parts of furniture. 

There was also another application of encaustic* 
which, though not immediately connected with 
this subject, is too interesting to escape attention. 
It was as applied to architecture and statuary. 
That a Polychromic system of external decoration 
greatly prevailed in Greece there seems reason to 
believe, although whatever was constructed of 
Parian or of Pentelic marble, was allowed to pre- 
serve its natural appearance : but when works 
were executed in the grey Eleusinian stone, 
or in materials of a baser description, that a coat- 
ing of white stucco was laid on, upon which 
colour was employed, seems to be now generally 
admitted. The statues appear to have been 
covered with a solution of wax and bitumen, or 
some resinous gum, to which, probably, a small 
portion of white lead or of marble dust was added, 
and this in a fluid hot state was applied to the 
statue until every porous part was saturated. 
Then equalizing the surface by a brazier, full of 
coals ; and after this for the minuter portions, by 
the heat of lighted candles ; the whole was Anally 
rubbed by fine linen, until it acquired an equal 
polished coating. This process is asserted to 
resist heat, wet, and frost; and if we admit 
colour to have been applied to statuary or archi- 
tecture, it was equally requisite as in pictures. 
It is one well deserving of consideration, for in a 
climate such os this, the effect of which nothing 
but ebony or granite can resist ; in a metropolis 
of stucco, it may be desirable to ascertain 
whether modern science could not so improve the 
practice of antiquity, that we might be spared 
the annual disfigurement of the streets, if not of 
the buildings, by the economical, tasteless official 
process of scraping the architecture, or bedaubing 
it with whitewash. 

The various systems of encaustic as applied to 
ships, pictures, and statues, being now considered, 
I shall attempt to trace it as applied to mural de- 
coration. Count Caylus, and the Abb6 de la 
Nauze, are of opinion that the Greeks painted on 
wood, linen, vellum, stone : and on walls upon 
the wet mortar, with colours &c., prepared 
exactly at at the pretent day ; but this at best 
is an extremely doubtful fact, the Count cites no 
authority, and the inference to be derived from 
the statement of the Abb6, as regards the works 
of Pantsenus and Ludius, is rather that the former 
were distemper paintings intensely varnished ; 
and the latter finished by the encaustic pro- 
cess. Count Caylus, indeed, admits that dis- 
temper was not only the first known, but the 
most practised process, and the forerunner of 
the encaustic; the discovery of fresco, it 
appears to me, would result, though research 
docs not sanction the statements of its extensive 
application. With regard to encaustic, for the 
purpose of mural decoration, it will be sufficient 
to give the method first employed by Ludius in 
the time of Augustus, and a slight outline of its 
prevailing use until the discovery of oil-painting, 
and of the recent attempts at Munich, for its 
restoration as a branch of monumental Art. 
Ludius discarded the use of the resins and 
bitumens of the Greeks, and adopted animal 
glue; and this mixed with wax, together with 
chalk, formed a stucco not dissimilar to that in 
ancient frescoes and pictures of the eleventh 
and twelfth centuries; of which, as I have 
stated, Gough mentions even the employment 
upon a coffin. This process of Ludius is thus 
given by Requeno : — When the colours are pre- 
pared, you paint as in distemper, and the encaus- 
tic completion is thus conducted. White wax 
and a little oil are melted together in an earthen 
vessel ; with this the painted ground is covered, 
the heater is next applied, commencing from the 
top, this coating becomes in part absorbed, and 
the surface is finished off, by the application of 
less heat, as by candles, and then by gentle fric- 
tion until the whole space is even, firm, and 
polished. This is stated to be in conformity with 
Pliny and Vitruvius, and to be the process 


mentioned by Seneca, Boethius, Procopius, and 
the anonymous author of the Hortus Sanitatis; 
and from them and others its employment may 
be traced to A.D. 1500. And the period indi- 
cated was singularly favourable for its intro- 
duction and continuance. The luxury of the 
Romans led to the decoration of their vast 
palaces, villas, and public edifices ; and the taste 
of the capital soon became the prevailing ambi- 
tion of the province. Christianity employed 
mural decoration in symbolic representation ; the 
Goth was not insensible to the claims of Art, 
Theodoric advanced what Justinian still patron- 
ized but debased. But it was Charlemagne who 
most promoted it; whether this arose from 
ambition or religion, it is useless to discuss; we 
too frequently ascribe to others the motives which 
are our own, and write the history of the past, 
not from facts, but our persuasions. His will 
became the zeal of the clergy ; the opinion that 
churches should be decorated throughout was 
adopted : and what at first was munificence be- 
came piety. But the system was not solely 
encaustic ; mosaic, distemper highly varnished 
(an imperfect method of encaustic), and 
fresco, were employed for this purpose. Fresco 
and encaustic were at times used in the 
same edifice : fresco prevailed in the ninth, 
and encaustic was disused about the tenth 
century. In the eleventh century, we with diffi- 
culty observe the predominance of the old, or the 
adoption of the new process of oil-painting. 
This might be introduced by Van Eyck, but 
various processes prevailed ; and according to an 
excellent recent author, those of Guido de Sienna, 
Cimabue, and Margaritone, were similar to those 
of Theophilus and of Eraclaus. From the twelfth 
to the sixteenth century the history of 
monumental painting is the triumph of fresco. 
The restoration of this Art by the abilities of 
Cornelius, Overbeck, and Schnorr ; the extensive 
works commenced and continued under the 
patronage of the King of Bavaria, very naturally 
led to the reconsideration of that sister branch 
which was so long dominant in Greece, had been 
so extensively employed at Rome, and unto so 
late a period of the Christian era. It is ever 
thus with the mind, we cultivate, cherish, and 
neglect, and return to that which we have ne- 
glected. Novelty consists less in the invention 
of that which is new, than in the re-production 
of the forms and opinions of the past. The 
t( Inquiries” of Requeno, 1787, were continued by 
Walter, Benjamin Calau, Roux, and Doctor 
Geiger, by Grund in his “ Malerei dcr Griechen,” 
1810; Leuch,and Field in his“ Chromatographic,” 
1830 ; and more particularly by M. P * * * de 
Montabert, “ Traite complct de la Peinture,” 
Paris, 0 tomes, 8vo., 1829. This work is written 
less with the desire of investigating the ancient 
method than for the discovery of a new mode 
applicable for pictures and for mural decoration. 
He is an enthusiast, like Requeno ; but indiffer- 
ent as to what might have been the cestrum, 
veruculum, or cauterium : he advocates encaustic 
painting from love of Art, not from erudition. 
He considers it highly suited for monumental 
works, as unaffected by heat, damp, or air. 
Pictures thus painted never alter, they can be re- 
touched ; they arc luminous and transparent, and 
possess all the excellence, combined with greater 
durability than oil. Of the resins employed in 
combination with wax, he recommends gum 
elemi (amyris elemifera) or copal (Rhus-copali- 
num) ; but the artist will find the most valuable 
information, by consulting this work, tome 8, 
chapitre 568. He considers the process of mural 
painting by the ancients to have been thus con- 
ducted. They painted on stucco, white, polished, 
and impermeable. The first portion of the 
work was conducted by a wash of sarcocolla, or 
of gum mixed with egg ; between each coat wax 
was applied, heat passed over it, and then 
polished. By this the first colours were physi- 
cally fixed, and their transparency preserved. 
They recommenced by richer vehicles in which 


wax or resin were more abundant; this was 
again treated as before. The difficulty of apply- 
ing the second to the preceding colours was 
surmounted by a slight caustic wash, then they 
retouched with naphtha or petroleum, and after- 
wards wax was again used and polished, thus 
giving to a distemper painting the effect of those 
conducted in oils. Klenze, who sought to ally 
painting with architecture, and to decorate the 
edifices with which his genius has adorned Mu- 
nich, in the ancient manner, had applied for 
assistance to Conservator Fcrnbach, who united 
to a correct knowledge of the Arts of Greece, great 
acquirements as a chemist and on artist. His 
first attempts were approved of by Dillis, the 
Director of the Royal Gallery ; but Heltensperger 
and other artists, and finally Klenze, influenced 
by the very excellent restoration of some paint- 
ings at Fontainbleau, by Alaux, through one of the 
processes detailed by Montabert, recommended 
the King of Bavaria to propose to Professor 
Schnorr, the employment of it for the purpose of 
decorating the new rooms in the Festsaalbau. 
Schnorr, fully impressed with the importance of 
the undertaking, felt, however, the necessity of 
a more careful consideration of the mediums sub- 
mitted to his choice. For tills purpose he 
painted two pictures, by two processes detailed 
by Montabert, and by that of Fembach. And, 
although he was from the first convinced that 
the process of the latter argued the greater pro- 
bability of success, an opinion which later obser- 
vation and successive experiment have confirmed, 
yet, that decision should be unprejudiced, and 
opinion properly canvassed, he resolved to test 
it by chemical analysis. A commission was 
therefore appointed, over which Professor 
Fuchs presided, and the following was the result 
of the experiments. After the employment of 
weaker tests, powerful acetic, and next sul- 
phuric, acid were poured on parts of the picture 
most liable to injury by their action. In 
both experiments, the process of Fembach 
was less injured, and the commission there * 
upon reported the result to the King, who 
authorized its employment. In what it may 
consist, it is at present impossible with correct- 
ness to describe; for the King, anxious to give to 
artists the benefit of well tested experiments, 
and aware that many modifications of it must 
ensue, has not hitherto permitted its publication. 
But from observation, and the opinions of artists, 
it may be assumed, that the following is a gene- 
ral statement of this method. On the wall the 
preparation is apparently the same as in fresco, 
but the setting coat presents a perfectly even, 
though unpolished surface. Upon this an im- 
pression of wax, or of a composition in which wax 
prevails, is laid, this is melted in by heat, and 
afterwards a slight colour is used, presenting 
the appearance of canvass prepared for paint- 
ing. The features completed possess great 
force, delicacy, and beauty ; the colours are highly 
transparent, and although the surface is slightly 
shining, yet it does not prevent the picture being 
seen at one glance, and from any point of view. 
In no case, even where colour exists in its great- 
est mass, do clefts or rigidities appear, as so often 
witnessed in other methods; and the pictures, 
when complete, are dry and hard to the touch. 
As a medium it is perfectly manageable; and 
although from its rapid drying, and other minor 
inconveniences, Rottmann, who had commenced 
his works with this, subsequently adopted that 
of Knirim, of which copaiva-balsam is the chief 
ingredient, yet later observation has shown that 
the adoption of Fembach’s process, by admitting 
the use of all colours common to oil-painting, and 
being capable of producing pictures of great rich- 
ness and power of effect, has advantages over any 
other that modem research has placed at the dis- 
posal of the artist. Still it was not to be ex- 
pected, that success would uniformly result; 
liitherto many obstacles have arisen, for either 
from the wall being improperly prepared, the 
mode of imbedding the first wqx impression 


154 


THE ART. UNION, 


[Jow, 


being carelessly executed, or from facts not pre- 
viously ascertained, the mortar broke away upon 
the application of heat, or the colours were ab- 
sorbed, and mixed together, appearing as a skin 
stretched over an uncongenial surface. Damp 
has been, however, the principal cause of defeat, 
as upon the final application of heat, blisters 
have arisen, or a dew has spread subse- 
quently upon the surface; and although en- 
caustic, like wax, admits of retouching, paint- 
ing and glazing, no adequate prevention against 
this evil has been found, nor will works in which 
lake colours predominate bear exposure to the 
sun. Encaustic, therefore, is at present unsuited 
for monumental purposes, of which the essential 
character is duration ; but by the ability so great, 
and research so persevering as Germany has 
evinced for the recovery and establishment of this 
branch of Art, it would be impossible not to 
argue, as not to hope, for success. Man is ever 
at war with time, and his spirit either reclaims 
the spoils its past history reveals, or wrests 
richer treasures from its course. In concluding 
this article I may, I trust, be permitted to ob- 
serve, that I am well aware of its numerous im- 
perfections ; yet those who are conversant with 
the subject will remember that its details must be 
traced from ancient writers often obscure, fre- 
quently contradictory, and always brief in their re- 
marks ; and that modern literature has added little 
to knowledge, but much to discussion ; and that 
quotation , rather than experiment , has been its 
aim. It is for this reason that I have sought to 
glean facts from the best Italian, French, and 
German authors, among whom experiment has 
preceded opinion ; the difficulty of combining 
and condensing facts many have experienced, but 
of those dissatisfied with performance, few have 
considered the weariness of the labour they 
despise. S. R. H. 

Not*.— As it may be of use to cite the authors among 
others 1 have consulted for this compilation, I subjoin 
them . — “ Memoires de l’Acadlmie Royale des Inscrip- 
tions,” tomes 19. 25, 28 — “Saggi sul ristabilimento dell 
Antica Artede* Greci e Romani pittori, del Signor Abate 
Don Vincenzo Requeno,” 2 tomi, 1787—“ Em£ric David 
Discours Historiques sur la Peinture Moderne,” Paris, 
8vo., 1812— “ MQnchner Jahrbucher fur bildende Kunst, 
herausgegeben, Von Dr. Rudolf Marggraff,” 8vo. 
1840— “Traits Complet de la Peinture, par M. P * * * 
de Montabert,” Paris, 9 tomes, 8vo. And for incidental 
reference, “ Boech. Corpus Iuscript.” and “ Raoul 
Rochette Peintures Antiques in^dites,” “ Pliny, Hist. 
Nat.,” Ed. J. Sillig, &c. &c. 1 may add also, that 
in the “Transactions of the Society of Arts,” vol. 
5. 1787, vol. 10, 1792, two papers will be found by Miss 
Emma Jane Greenland : the process there detailed is 
that recommended by Requeno, although communicated 
to Miss Greenland by a Signora Parenti, who has 
claimed it: it is exceedingly valuable, and the instruc- 
tions clearly given. A picture painted by this process 
is in the rooms of the Society. 

AN EXAMINATION INTO THE QUALI- 
TIES AND NATURE OF THE GROUNDS 
ADOPTED BY THE OLD MASTERS FOR 
OIL PAINTINGS. 

TO THB BDITOR OF THB ART-UNION. 

Sir, — I do not think that the subject of grounds 
for oil paintings has met, from your correspondents, 
with that deliberate consideration which it really 
deserves, and which, indeed, the present advanced 
state of Art in this country positively demands. 
Many of them have undoubtedly taken up the mat- 
ter with earnestness and in good faith; but in 
effect more, as I conceive, for the purpose of advo- 
cating the merits of some favourite tint or compo- 
sition, than of pointing out and explaining intelli- 
gibly the principles upon which the quality of good 
and enduring grounas depend. This is undoubt- 
edly to be regretted, especially as they possess 
acquirements particularly proper for such an in- 
vestigation, requiring patience and research ; and 
which, if they had been more judiciously directed, 
would have led to the most useful and practical 
results. I have therefore ventured to take up the 
subject in a more comprehensive way, well know- 
ing how much better qualified are the individuals 
to whom I allude than myself, for conducting the 
inouiry now under my consideration. 

Comparatively speaking, colour is of little mo- 
ment ; it may and always has been varied accord- 


ing to the fancy, or to suit the method or working 
of each individual master. To Rembrandt perhaps, 
it mattered little of what his grounds were com- 
posed, for latterly he laid on such loads of colour of 
any kind, and mixed in any fashion, trusting 
entirely to glazing for clearing up and producing 
his effect, that if he had worked upon the bare 
canvass or panel itself, probably his pictures would 
have stood equally well as if the ground had been 
of the best materials. He is therefore an excep- 
tion to the general rule, and must not be imitated 
by any one of inferior talent or less experience. 
His friends frequently complained even of nis care- 
less way of laying on his colours, which gave a dis- 
agreeable ruggedness to his pictures ; and upon such 
occasions his answer was equally characteristic : 
44 I am a painter, not a dyer.” The style of his 
pupil, Gerard Dow, did not admit of bad grounds; 
neither did that of Rubens, Correggio, P. Ve- 
ronese, or any of the good colourists of Italy 
and the Low Countries. In fact, clear and trans- 
parent colouring requires that the original tint of 
the ground should be unchangeable ; for if the lat- 
ter changed, the whole effect of the picture would 
be changed with it. This opinion, though per- 
fectly reasonable, can only be established, I admit, 
by an examination of the actual works of the greatest 
masters of colour; a desideratum not easily arrived at, 
seeing that no judicious person would be prevailed 
upon, for such a purpose, to submit a genuine 
work by a fine old master to the tender mercies 
and manipulations of a chemical adventurer of this 
kind ; and he would be less inclined to do so, as 
experience would prove to him that the possibility 
of reproducing a work of equal merit in the pre- 
sent day is not attainable. I wish it to be clearly 
understood, however, that this remark applies ex- 
clusively to colour. However, it is not my inten- 
tion to enter the lists with those who think lightly 
on the subject of grounds. I look upon it to be of 
vital importance, and I trusty Sir, that you and 
your correspondents will join in the endeavour to 
place the matter upon a sound basis, and thereby 
to save our present race of talented artists from the 
calamity, which may well be considered a national 
disgrace, of having their choicest and most deeply- 
studied works faded or destroyed by the introduc- 
tion of those corroding and perisnable materials 
which at this time are too often admitted into the 
grounds, and, indeed, combined with the pigments 
sold by our cheap, and consequently interior co- 
lourmen, and which have been the occasion of the 

§ remature decay of some of the most valuable pro- 
actions of modem Art. 

Architecture, sculpture, and painting are the 
kindred Arts which have at every period engaged 
the attention and the affections of mankind, and 
which have formed a home for the sister Arts of 
poetry and music ; and it is an established fact, 
that the decline of any one of these three, has 
been immediately followed by a decline of the other 
two ; and that, on the contrary, an improvement 
of either of them has had its corresponding effect 
upon the rest. In the former case, the cause may 
be ascribed, though not always as I shall show, 
to the absence of that fostering care which is ne- 
cessaiy to their existence, on the part of those who 
have been placed by Providence at the head of 
nations. An example of this kind is afforded by 
the history of the times of Commodus, the Roman 
Emperor, and that of his immediate successors : — 
44 La Monarchic Romaine du temps de la Repub- 
lique, et des premiers Caesars, £toit dans une haute 
reputation, parce qu’ils avaient porte les Arts a 
leur plus haute perfection. Mais cette monarchic 
depuis la mort de Marc-Aurele ommen^a de 
perdre la grandeur qu’elle avoit acquise. Car plu- 
sieurs empereurs succedant en peu de temps les 
uns aux autres, temirent l’empire par leurs 
cruautes, par leurs debauches, et les guerres civiles, 
ce qui causa tout ensemble et insen siblement la 
mine des Arts du Dessein.” 

At a later period of the Roman' history, and 
during the Pontificate of Gregory XIII. and of 
Sixtus V., the art of painting sustained signal dis- 
asters : — 44 Qui veramente comincia un ? epoca men 
felice per la pittura; e peggiora nel tempo di 
Sisto V. successore di Gregorio. Questi Pontefici 
eressero o fecer dipingere tante publiche opere, 
che appena in Roma si dk un passo senza vedere 
uno stemma pontificio con un drago, o con un 
leon.” In the pontificate of Clement VIII. the 
evils were aggravated, when the few remaining 
artists of talent, who still endeavoured to maintain 


the dignity of their art, though enduring ever! 
species of privation, had the mortification of daily 
witnessing a new inundation of barbarisms, in the 
shape of paintings of the most contemptible cha- 
racter, and with as little forbearance on the part of 
their producers and promoters, as did the poets in 
the time of the Emperor Domitian, and the philo- 
sophers in that of M. Aurelius, the father of Com- 
modus.” * 

Indeed, under the Pontificate of Innocent X. 
the employment of artists was very precarious, and 
the 14 ombile peste” of 1665 put a merciful ter- 
mination to the moral catastrophe, and will bring 
home to our memory the observation of Sallust— 

44 Omnia orta Occident et aucta senescent,” kc. 

The calamities which have befallen 44 Le belle 
Arti” at various inauspicious periods, would in 
themselves be sufficient to fill a large volume ; and 
they offer a humiliating example of the frail tenure 
upon which the things best calculated to civilise 
and adorn human society are held, and with what 
rapidity the labour of ages and the workings of the 
finest imagination pass away ! I have thought it 
necessary to allude to some of those which bear 
upon the subject of the Art generally , and on the 
preparation of grounds more particularly. I 
would willingly enlist in favour of what affects 
artists so seriously, every diligent searcher into 
cause and effect, and every one who is interested 
in the advancement of the Fine Arts, since its true 
principles are now beginning to be felt and under- 
stood ; and since also there is a disposition on the 
part of our Government to encourage whatever is 
calculated to promote their interests. Let us not 
lose the opportunity now afforded by the exertions 
making by Art- Unions established throughout the 
kingdom in favour of artists of talent ; but unite 
our efforts to lay the foundation of a great national 
structure, the brightness of whose lofty pinnacles 
shall dazzle the eyes long after the sun of 
Great Britain shall have set for ever ! Let us, in 
short, endeavour to search out the real causes 
which occasioned the loss of the traditions of the 
studio, and the decay and, finally, the extinction, 
of all the ancient schools. But I must not forget 
the maxim of Davus, 44 N* aum Nuns.” I 
will therefore, after this digression, again return 
to the subject of grounds. 

One of the most important works which has ap- 
peared of late years is that of M. Merim^e, on 
44 the Art of Painting in Oil and Fresco,” a trans- 
lation of which, by Mr. Sarsfield Tailor, appeared 
in 1839. M. M£rim6e was both a good artist and 
a good chemist ; and although his treatise is not 
free from objection on the score of want of suffi- 
cient facts to support some of his hypotheses, it is 
nevertheless the most interesting work of the kind 
which has appeared in the present century. It is 
of course difficult to please everybody, and works 
of the greatest merit will occasionally excite the 
opposition of cavillers at any or everything. To 
those who feel otherwise it will be regarded with 
favour, and they will be lenient to its faults, for 
the latter may admit of remedy. It is not neces- 
sary to pull down a useful building in order to add 
to its dimensions, or repair its defects ; nor need 
we abandon the cause or truth, though one of its 
champions unintentionally cast a veil over its fair 
proportions. In other words, we must receive it 
thankfully, and turn what is good in it to our 
account. . 

I trust this will be to the reader an introduction 
of the work of M. Merimee, for the subject under 
our consideration is one which he has taken in- 
finite pains to investigate. The rules he has laid 
down, and the recipes he has given, are of the 
highest interest, although the limited extent of 
his treatise did not admit of this subject being so 
amply discussed as was to be desired. And it will 
be my endeavour to supply many of those notices, 
with respect to grounds, of which his work is de- 
ficient. My inquiry will be first directed to the 
duration of ancient Grecian paintings. 

The brightest period in the history of ancient 
Grecian Art was that of Alexander the Great, 
who died B.C. 323. The most celebrated painters, 
taking them as they stand in the 44 Lives” of M. dc 
Piles, are the following Zeuxis, Parrharius, 

* 44 Sotto questi pontificati i pittori d’ Italia e altre- 
mente cbe i poeti sotto Domixiano, o i filosofl a* temp de 
M. Aurelio.” And he adds, “ Ognuno vi recava il suo 
stile: molti per la flretta vel peggioravano.” At the 
extract would be too long for insertion 1 must refer the 
reader for the remainder of it to Lanai, vol. it., p. 10*. 


Digitized by vj( jogie 



1842 .] 


THE ART-UNION 


155 


Psmphiliis, Temanthes, Apelles, and Protogenes. 
They were for the most part accustomed to paint 
on panels of larger or smaller dimensions ; perhaps 


on panels of larger or smaller dimensions ; perhaps I Apelles, nearly 400 years before the Christian era. 


monogram, monochrom, and polychrom, till it j 
arrived at its highest state of perfection under 
Apelles, nearly 400 years before the Christian era. 


also upon canvass. These panels were prepared 
with a ground composed or chalk or magnesian 
earth, and some kind of size. It is thought that 
the pigments they employed were similar m most , 
respects to those now in use, and which also the | 
ancient Romans used ; such is the opinion of Sir j 
Humphry Davy. Apelles, however, discovered 
a splendid kind of varnish, of which we know 
nothing, except that it possessed a brown tint, 
and with this varnish he covered parts of his pic- 
tures, which gave to the shadows a marvellous 
lustre. It is not likely that this varnish consisted 
of wax, because the encausti of those days were in 
the habit of using this substance upon their works. 
It must therefore have been essentially different 
from that; and probably the contemporary artists 
of Apelles made use of the discovery of the latter, 
as he was a man of a noble and communicative 
disposition. Be this as it may, it is not to be 
doubted that they took the best precautions in 
their power for the preservation of their works. 

Subsequent to the death of Alexander, the Ro- 
mans subjugated Greece, and despoiled it of its 
pictorial treasures to adorn the capital of Italy. 
" From the time of the Consul Memmius, foreign 
pictures were daily brought to Rome, and the 
public buildings of the city were hung with the 
works of Apelles, and all the most famed 
artists of Greece. In the Temple of Peace was 
placed the most valued of all the works of Pro- 
togenes, i.e., the hunter Jalysus with his dogs 
and game. This picture was at Rhodes, where 
the artist lived, when Demetrius laid siege to the 
town ; and, it is said, that he abstained from an 
attack which could not have failed of being suc- 
cessftd, lest in the confusion of the battle the 
picture should receive injury. The Cyclops of 
Timanthis, and the Scylla of Nichomacus, were 
also deposited in the Temple of Peace. Some of 
the most precious works of Zeuxis adorned the 
Temple of Concord, and the private villas of 
Rome.” The greatest work of Apelles was his 
Venus Anadyomene. It was painted on wood, 
and was totally destroyed by insects in the time of 
Augustus, A.D. 14. It is hardly to be expected 
that the works of other contemporary artists should 
have survived this capo d’ opera of Apelles. Sup- 
posing this to be the fact, it would appear that the 
period of duration of the great Grecian paintings 
was about 400 years. Of the encaustic paintings, 
which, being done on walls, could not oe trans- 
ported to Italy, they were probably buried in the 
ruins of the temples of Greece which they adorned. 
I will therefore only notice the names of Pansias 
and Euphranor, who were the best encaustic 
painters. 

I most now direct the reader’s attention to the 
duration of ancient Roman paintings, which I will 
do in the shortest way I can. 

We do not gather from Pliny that the vast in- 
flux of the choicest works of Grecian Art into 
Italy, exercised any decided and beneficial influ- 
ence upon the Romans. Indeed, there seems to 
have been something in the mind of the ancient 
Italians, which rendered them incapable of follow- 
ing with any advantage the art of painting. Four 
hundred years before the birth of Alexander the 
Great, Bularchus introduced the art into Rome ; 
he brought it out of Greece. This painter repre- 
sented, in his most famous work, the * Battle of 
the Magnesians or Magnetes and so highly was 
it thought of by Candaulus, King of Lydia, that 
he gave for it as much gold as would cover its sur- 
face. So competent a master, and one, too, who 
had established the principles of an Art in the 
capital of Romulus, must have created many 
pupils, to whom these principles would be com- 
municated, and by tradition they would descend 
to their successors. Yet, after the death of this 
celebrated painter, the ait must have languished : 
we hear of it no more for centuries. Whereas, the 
ancient Greeks seem to have had a natural genius 
for it. Its very commencement in that country is 
interesting, though it may shock the female mind 
of the present day. 11 Corinthia. a girl of Sicyone, 
being in love with a certain youth, and finding him 
asleep near a lamp that was burning, the shadow 
of his face, which appeared on the wall, seemed so 
like him. that the was incited to draw the extremi- 
ties of it, and thus made a portrait of her lover.” 
It passed through the several stages of skiagram, 


Apelles was not only the most accomplished artist 
or ancient Greece, but the author also of a Trea- 
tise on Painting, which was extant in the year 
A.D. 1100 ; ana Theophilus, who lived about 
that time, may have derived the chief materials 
from this treatise for his own 44 De omn 
Scientia Artis pingendi.” This work may there- 
fore be considered of the highest authority and 
value, and ought to be translated for the benefit of 
the general reader. Margaritone was born in 
1198. He was indebted to the Greeks of his time 
for his earliest instruction in painting, and it is 
very probable that he may have derived further 
information from the treatise of Theophilus, and 
thus we may trace the progress of Grecian Art, 
and connect it with .the revival in Italy in the 
twelfth century. 

It may, however, be worth our while to glance 
at the effect of the introduction into Rome of the 
paintings of Apelles and Protogenes, in order to 
show that, though a taste began to show itself on 
the part of the Italians at this period, it was not 
corresponded to by the development of any talent 
whatever on the part of the natives of that country. 

In the time of Augustus, Ludius is spoken of as 
the first who decorated the walls of houses with re- 
presentations of rural scenery ; and Aurelius, Cor- 
nelius Pinus, and Actius Priscus, were emplbyed 
by Vespasian to decorate some temples which he 
rebuilt : but their pictures had no pretensions to 
any kind of merit. The magnificent Hadrian gave 
great encouragement to artists, but there was still 
a dearth of genius. With this Emperor and the 
Antonines ended the prosperity of the Arts. It 
will therefore be seen that patronage alone is in- 
sufficient for the development of talent. The hand 
of a beneficent government may be extended in 
vain if a genius for Art do not exist in a nation ; 
and we know that, though a talent for painting 
may not exist at one period, it may spring up at 
another. 

In the first century of our era the cities of 
Pompeii and Herculaneum were buried under the 
lava which issued from the bowels of Mount Vesu- 
vius. They remained boried for upwards of 1600 
years. But the paintings on walls, which have 
been discovered, are not possessed of any merit, 
and will not bear exposure, unprotected, to the 
air. It will not therefore be possible to assign 
a longer period for the duration of Roman paint- 
ings than we have given to those of Greece, 
namely, about 400 years. And yet the case is 
different with respect to Egyptian paintings. In 
the specimens of the artists of that nation, which 
have been preserved in the inner coffins of mummy 
cases, the colours are perfectly bright and fresh. 
Some of the designs must have occupied weeks in 
the elaborate outlining and colouring in water- 
colour or distemper, and in the fixing and varnish- 
ing the subject. The grounds are very fine and 
pure white, resembling stucco. The parts that are 
drawn on are those only which have been after- 
wards varnished. 14 This white ground may be 
disturbed by a wetted finger, which is not the case 
with the varnished parts. Their varnish must 
have been of excellent quality, as it retains its 
transparency and gloss in a most extraordinary 
degree ; in some instances appearing as if only 
executed a few days.” It would therefore appear 
that grounds, if well prepared and laid upon a 
lasting material , may endure for at least 3000 
years. I would refer the reader to the interesting 
essays of Mr. Callcottfor further information upon 
this and other subjects connected with ancient 
art and manufactures. 

The woods which the ancient Grecian artists, 
as well as the 44 old masters,” made use of for 
their paintings, were panels of cedar, larch, cornel, 
cypress, box, holly, sycamore, and oak, and upon 
them they applied their grounds. But a great 
difficulty must have been felt by the want of a 
cement sufficiently strong to hold at the joints. 
Directions for the manufacturing of panels are 
given by Theophilus, or, as Vasari calls him, 
Ruggiero. He recommends that the panels be 
prepared with a tool, such as vat-makers use, 
which was probably a plane, or it might have been 
a rabbit-plane, as M. Mdrim^e conjectures. He 
recommends that the planks should be cemented 
at the edges with a glue made of cheese, the way of 
making which he describes. He adds, that panels 


thus cemented could never be separated by either 
moisture or dryness. Vasari says, that Margari- 
tone was the first to glue linen bands over the 
joints ; but this could not be so, for Theophilus 
describes it. It is, however, curious, that the very 
difficulty felt with respect to the fastening of the 
joints of panels was eventually the cause of the 
discovery made by Von Eyck or oil-painting. 

In Venice, the custom of painting on panel seems 
never to have prevailed to any extent ; probably, 
says Vasari, among other reasons, because of the 
convenience afforded by canvass, which may be had 
of any size. I will, however, give his explanation 
of it in his own words: — 44 Si costuma dunque 
assai in Venezia dipingere in tela, o sia perche non 
si fende e non intarla, o perche si possono fare le 
pitture di che grandezza altri vuole, o pure per la 
comoditk di mandarle comod&mente dove altri 
vuole con pochissima spesa e fatica.” 

It is a singular fact that there are few pictures by 
old masters which have not been lined, and at an 
early period. The necessity of relining presup- 
poses some injury, or, at least, a had appearance 
about a picture, and proves that the old masters 
were occasionally beset with misfortunes similar 
to those which are experienced in the present time. 
Let us inquire what are the causes which were 
likely to render relining necessary. 

In the first place, alf kinds of wood are liable to 
be infested ana destroyed by worms ; and I shall 
not, therefore, trouble the reader about panels. 
My remarks at present I will confine to canvass, 
which, being by nature porous, is capable of ab- 
sorbing moisture from the atmosphere, and of 
communicating this moisture by capillary attrac- 
tion to the material, if absorbent, of which the 
ground of a picture is composed. In heated 
rooms, or dry seasons, the moisture absorbed at 
one period, would he as readily parted with at 
another : and these frequent changes would ope- 
rate unfavourably upon the picture itself. Ano- 
ther cause of injury may arise from dis- 
similarity in the materials used in the ground, 
and on the picture. Even the texture and thick- 
ness of the several varieties of paint might occasion 
injury : for if the different degrees of expansion and 
contraction of two surfaces or substances in con- 
tact, whether occasioned by heat or cold, moisture 
or dryness, are unequal, there will be a constant 
struggle and tearing asunder of the two substances, 
whicn may cause the paint to chip from the canvass 
which a succession of moisture and dryness had 
made to bag. All these causes, or any one of them, 
may be sufficient to call for a relining of a picture. 
On the other hand, the varnish is soon acted upon 
by the atmosphere, and when its surface is cor- 
roded, the subject beneath it is rendered obscure. 
Add to this, the changes which may take place in 
the colours by the action beneath of a ground com- 
posed of lime ; or of light and darkness, confined 
air, or gaseous exhalation from without, and we 
shall admit that the office of a Repairer, as well 
as a Reliner, may be equally necessary. But the 
very act of removing the varnish of a picture, even 
by the most cautious repairer, may disturb the 
glazings and finishing touches of the artist, and 
nence the necessity for another officer, that of 
Restorer. I will, therefore, give a few historical 
notices of this class of persons. 

It is nowhere stated, that I am aware of, that 
the Greek artists, of whom Margaritone learned in 
Italy the first principles of his Art, were employed 
at Arezzo, in the twelfth century, to repair as well 
as to paint pictures ; but after the middle of the 
following century, we read that 44 the governor of 
Florence invited some Greek artists to that city, 
who were employed in one of the churches to re- 
pair the decayed paintings.” It was from watch- 
ing these artists in the progress of their work, 
that Cimahue imbibed that ardent love for the Art 
by which he was characterized. Cimahne died in 
1300. * 

The next account we find in Lanzi, who states 
that there is a document preserved in the Archives 
of the Confratemita de’ Bianchi at Rome, relating 
to the repairing of a picture of S. Biagio, by one 
Donato, in 1374. 

I find no further account of a repairer for the 
space of, at least, two hundred and fifty years. 
We then read that Pietro Vecchia, who was born 
in 1605, and died at the age of 73 years, distin- 
guished himself by his talent in repairing old pic- 
tures, and from this circumstance, Melchiori con- 
' jectures, he obtained the name of Vecchio : 44 11 


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THE ART-UNION. 


vero suo casato, come notiamo nell’ Indice, par 
fosse Muttoni .” 

After 1634, we hare an account of Giuseppe 
Ghezzi, whom Pascoli praises for his skill in re- 
pairing old pictures, and adds, that the Queen of 
Sweden employed him exclusively for that pur- 
pose : 44 Per cui la Reina di Syezia per tali occur- 
renze si valse di lui solo.” Ghezzi was of the 
Roman school, and contemporary with Vecchio, 
who was of the Venetian ; and Francesco Polazzi, 
also of this latter school, is spoken of by Lanzi as 
44 buon pitto re e miglior restauratore di quadri 
antichi.” 

Of the Sienese school was Niccolo Franchini, 
whom Cavaliere mentions as having discovered a 
new art in the repairing of old pictures, without 
even once using the point of a brush, by making 
use of paint obtained from other old pictures of 
inferior value. He was distinguished for his skill 
in knowing the pencilling of old masters : 44 £ per 
la prerogative, dice il Cavaliere, di ristorare le 
lacere tele, e ridurle all’antica loro perfezione 
sonz’ adoperarvi pennello : dove manca il colore 
supplisce con altri colori tratti da altre tele di 
minor prezzo ; invenzione che non e state da altri 
scoperta.” 

The state of the pictures in Venice were found 
to be so bad, that it became necessary, in 1778, to 
open an academy for the express and sole purpose 
of restoring them. The worthy Sig. Pietro Ed- 
wards was elected president ; and it is incredible 
what pains were taken, under his management and 
with tne assistance of his associates, in renovating 
the injured specimens of Art belonging to the 
state and to private persons. 44 Le operazione,” 
says Lanzi, 44 che si fanno intorno ad ogni qua- 
dro, sono molte e lunghe, ed enseguite con incre- 
dibile accuratezza ; e ove la pittura non venga alio 
studio troppo pregiudicata (com’ era il S. Lorenzo 
diTiziano), toraa al suo posto ringiovanita, e ca- 
pace di vivere molti piu anni .” — Note. Lomazzo 
gives an account of a picture by Bramante in 1486, 
which the former repaired. 

I have not given any account of the repairs done 
to the 4 Last Supper of Leonardo da Vinci, be- 
cause it has undergone the operation at so many 
different periods ; and I should not notice it at all in 
this letter, had it not been supposed to be done in 
oil ; I shall, however, have occasion to allude to it 
further on. 

Vasari informs us that Margaritone d’ Arezzo, 
born in 1198, and who died in 1275, painted upon 
a gold ground. 44 The Art of gilding with leaf- 
gold upon Armenian bole was first invented by 
him ; and at Pisa he painted the legendary history 
of St. Francis, with a number of small figures, upon 
a gold ground.” It is to be presumed that other 
artists of his time adopted the same kind of 
grounds. 

Bernard Van Orlay, born in 1490, in order 41 to 
give lustre to his tints, usually painted upon a 
around of gold-leaf, which preserved his colours 
fresh.” This expression, 44 usually painted upon-a 
gold ground.” implies that the practice of Mar- 
garitone had, after the lapse of 300 years, some- 
what declined. There is a 4 Last Judgment,’ by 
Van Orlay, at Antwerp, which is painted on a gold 
ground, which gives to the sky much clearness and 
transparency. 

Lanzi informs us, that during the fourteenth 
century grounds were gilded, the gilder’s name 
being inscribed upon it. Towards tne end of the 
fifteenth century the practice of making gold 
grounds declined, and that metal was carried to 
the fringes (which were made very broad), of the 
draperies. Gold was more sparingly used towards 
the end of that century, and in the sixteenth 
wholly declined. Dominico Corradi (Ghirlandaio) 
was the first to lay aside gold fringes to draperies. 

Even in fresco painting the inconvenience to 
which I have alluded, namely, the injury sustained 
by colours when in immediate contact with lime, 
was sensibly felt by artists in that style, and they 
adopted means to lessen, or wholly guard against, 
the evil ; it is probably owing to a neglect of this 
precaution that so many of the old frescoes have 
faded in their colours, and that some have been 
wholly obliterated. The hint has been taken by 
the fresco painters of Munich, they adopting the 
practice of the old masters, by covering the plaster 
with gold-leaf. 

One of the most striking examples of the advan- 
tage afforded by a protection of this kind, is 
afforded by the frescoes of the Carloni (Batista 


and Giovanni)* in the church of La Nunziata del 
Guastato, at Genoa. 44 In these frescoes the co- 
lours are so brilliant that we might almost mistake 
them for paintings on glass or enamel.” 44 It has 
been attempted to examine more narrowly the me- 
thod of his colouring, and it has been found, that 
upon the dry surface of the ceiling and the walls 
he previously laid on a coat of strong colour ( 4 un 
intonaco di tinta, che le riparasse dalla calcina’).” 
The account will be found in 44 Lanzi,” vol. v., 
p. 325, and it is worthy of being consulted. 

Dentone is anothef example of this kind. He 
was a painter of perspective at Bologna. 44 His re- 
presentations of cornices, colonnades, balustrades, 
lodges, arches, and modiglioni, seen in perspective 
from beneath (di sotto in su), give the notion that 
he availed himself of stuccos and other substances 
in relief; while the whole effect is obtained by a 
chiaroscuro, brought by him to a facility, a truth, 
and a grace, never before seen.” It wrfs a practice 
with him to lay gold-leaf over part of his works in 
fresco, and also to avail himselt of a covering com- 
posed of baked oil, turpentine, and wax. He even 
inlaid part of his work with pieces of real marble. 

M. de Pile* informs us, that Sebastiano del 
Piombo found out the way of painting in oil upon 
walls, so that the colours should not cnange. This 
was by a coating, upon the plaster, of pitch and 
mastic. The subject, however, requires further in- 
vestigation, now that there is a hope that the fresco 
style -may gain favour in England. For we find 
that the 4 Last Supper’ of Leonardo, who was 
always seeking after novelties ( 44 che tentava sem- 
pre nuove vie”), covered the wall with distilled 
oils (‘ 4 olii stillati”), as a protection to his work ; 
in consequence of which insufficient protection, 
this masterpiece of Art, so far as original paint is 
concerned, is lost to the world. 

At one time artists seemed to have been pos- 
sessed with a kind of panic respecting the safety of 
grounds of any kind, and accordingly we find them 
distrustful even of gold ! and actually painting upon 
the bare canvass or panel. A Dutch lady, of the 
name of Rozee, painted portraits upon tne rough 
side of a panel, and in such a manner, that at a 
little distance the picture had the effect of the 
neatest pencil. Ana Domenico Maroli painted in 
like manner upon bare canvass. 

Alessandro Turchi, of the Venetian school, 
painted upon black marble. It is said that in the 
laying of nis colours he had discovered a great 
secret, which has excited the envy of posterity. 
Francesco Bianchi Buonavita also painted upon 
stone ; as did Adrian de Bie, making use of jasper, 
agate, porphery, lapis lazuli, and other precious 
stones, ingeniously contriving to leave the natural 
markings for outlines of clouds, mountains, or 
figures. 

Baldinucci, in his 44 Lezione Academics.” alludes 
to the subject of grounds in these words, — Var- 
nish is applied to pictures done in oil, not for the 
sake qf improving and brightening the colours , 
which require no such assistance, but in order to 
remedy any defect that might arise from the 
priming or composition laid upon the canvass or 
panel . These are his words: Se poi sark detto, 
che i moderni Pittori usano anch’essi taivolta ver- 
nice sopra le lor pitture a olio ; io rispondo, che 
tale usanza (che e di pochi) non c per supplire al 
mancamento, della pittura a olio, cioe, per render 
piu profondi gli scuri, ma bensi per remediare ad 
un’ accidental disgrazia, che occorre talora a ca- 
gionc dell’ imprimaturs, mestica, o altro, che dassi 
sopra le tele, o tavole, p. 95. 

As a further proof that the old masters were ap- 
prehensive of the grounds they used, we may men- 
tion that Titian, Tintoretto, P. Veronese, Guido, 
Rosa Tivoli, and most others of the good colourists 
of every school, frequently changed them, as will 
be more clearly Bhown when I come to speak of 
colour of grounds. But Ludovico Caracci, who 
persevered to the last with his chalk grounds, has 
paid the penalty of having scarcely a picture by his 
hand which has come down to us, that has not 
changed so much in colour as to be scarcely re- 
cognised as the performance of a man who had 
varied the whole system of painting throughout 
Italy by his genius and exertions. 

Tne value of white-lead, when pure, as an in- 
gredient for priming, was well known to the old 
masters. No mineral substance, perhaps, covers 
so well as the carbonate of lead, and that for a 
priming is less likely to undergo any alteration. 
Many persons think that there is danger in the 


[July, 

employment of white-lead; but I imagine their 
fears are without foundation. In the pictures by 
old masters we never, or very rarely, observe any 
change in the lights which are entirely made of 
white-lead. It may destroy some colours which 
are laid upon it certainly, such as preparations of 
arsenic, as have been experienced in the faded pic- 
tures of Sir Joshua Reynolds. But in no other 
cases. And even if, by the action of hydro-sul- 
phurous vapours, the lead of the lights should have 
returned to the dull metallic grey, a washing with 
oxygenated water will restore its former whiteness. 
This discovery, M. Mlrimle tells us, was made by 
M. Thenard. 

But as my letter has already been drawn to a 
greater length than I anticipated, I will now close 
my remarks, desiring to be permitted to continue 
the subject in reference to the colour of grounds , 
and the adulteration of colours, in a future num- | 
ber of your valuable periodical. 

I am, Sir, yours, Ac., A. 

DECORATION OF THE NEW HOUSES 
OF PARLIAMENT. 

ON HISTORICAL PORTRAITS AND INVENTION 
WITH REFERENCE TO PAINTING. 

It is the peculiar merit of monumental works of 
Art, that they require the exertion both of intel- 
lectual power and of moral elevation. A mind fet- 
tered by the trammels of every-day life, whose am- 
bition is the praise of the hour, and the petty 
sphere of whose pursuits is limited by the artificial 
feeling, the conventionalism of society; to whom 
the past is as a sealed book, and the thought, 
energy, will to know, determination to possess, 
the tenderness, affections, passions of man, are as 
disregarded truths, soon yields to the genial will 
and the imperial pleasure ; like a slave decorates 
the fetters which degrade it, resigns the last sad 
refuge — right of thought ; stoops to the extension 
of its own wrong, and becomes the victim of the 
materialism that it serves. To be great we must 
preconceive greatness in ourselves. To portray 
we must comprehend its qualities, analyze its se- 
cret springs, and inquire if power ana duration 
are, or have become its attributes, by the impres- 
sion of its own intellectual superiority, or, from 
the silent gradual subservience, of thought and 
feeling in the mass. 

“ — — There is a fire 
And motion of the soul, which will not dwell 
In its own narrow being 

it preys on high adventure — here rest is death ; but 
this is not greatness, it bears an affinity to the 
chivalrous ignorance of the middle ages, the ready 
valour of the condottilri, the lust of conquest, and 
the Roman pride of worlds to conquer. In what 
then does true greatness consist ? In that spiritual 
elevation of the mind which makes the pa st even 
as the future, present ; which rives to time the re- 
flected spirit of eternity ; which unveils the face of 
nature, subdues matter to its will, or gives it form, 
and either in relation to himself or society is the 
cause, the ruling principle of the beneficent actions 
of man. The first may be considered as the active, 
the latter as the moral power ; both afford appro- 
priate motives for the compositions of the artist : 
either subjects of a picturesque character, which in- 
fluence generally the common classes of mankind, 
to whose conceptions the usual assemblage of 
things is adequate; or incidents, in the highest 
degree illustrative of the intellectual grandeur, qf 
reason united to the moral sense. Scenes of this 
description are presented to us by history, where 
man appears either as conducting, or in contrast 
with event. 

History is the biography of society; modern 
history, exhibiting a fuller development of the 
human race and a richer combination of its most 
remarkable elements, gives a greater scope to the 
highest mental creations of the artist. And as 
every nation has an external and internal character, 
as it cannot be indifferdht to good or ill, and as 
history must have a moral end, the artist should 
select such points as are mostly illustrative of its 
general ruling principle. Conceptions descriptive 
of individuals, must please in proportion to our 
interest in their fortunes, or our conviction of the 
benefits they have conferred : but every man is in- 
terested in the greatness of his nation, for apart 
from more ennobling principles, pride teaches him 
to feel with the mass, and to consider its influence 
as his own. Historical pictures must not, there? 


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157 


fore, possess the character of dramatic representa- 
tions ; for the primary rule of the former is, that 
invention should be subordinate to fact, whereas, 
in the latter, the chief interest is transferred to the 
actors, and the facts are moulded into mere situa- 
tions contrived for their exhibition. Historic in- 
vention must administer to truth ; no subiect can 
be proper that is not of general interest, that can 
be treated only by minuteness of detail, or of which 
excellence, either as acting or suffering, is not the 
predominant idea. The great end of Art is to 
strike the imagination, and to remind the reason, 
and this by veracity : virtue should be represented, 
not as above probability, for what we cannot es- 
timate we shall not imitate, but such as the claims 
of humanity teach us to practice ; and vice should 
disgust, not by meanness of form, but by the il" 
lustration of its effects. Every historical subject 
should be in itself complete, the significant should 
predominate over the beautiful, it should at once 
unfold its fact : as it is often upon the first glance 
of a work of Art that the greatest effect depends — 
the domain of the poet is tune, that of the painter 
is space; one may narrate, the other must em- 
body ; for die eye is soon gratified by variety of form, 
and turns with indifference from the canvass, of 
which the story is either unins tractive or unknown. 
There are men who will for ever represent their 
heroes as gods; incapable to depict truth, they 
debase fiction, and are great only m proportion as 
they are misunderstood. There are others who are 
only inspired by allegory and mythology — who 
reduce Art to a mere mechanic trade, who bid us 
admire the labour of the hand, but exclude us 
from the higher enjoyments of the mind. The il- 
lustrations of life, should reproduce its accidents, 
lights, and shades ; they should contain, as an epic 
poem, a distinct moral, or something instructive ; 
they should teach us — 


Neqne enim fortune querends 
Sola tua eat, similes aliorum respice causal 
Mitius ista feres.” 

Can allegory or mythology do this ? But it is said, 
may not history be employed as it was by Sophocles 
or Shakspeare ? It may be replied ; there is no sin 
so common as the sin of great examples, but genius 
is no shield for mediocrity ; the terrific energy of 
M. Angelo is no excuse for the distracted distor- 
tions committed in his name. Genius has its 
own law, but laws arc not less requisite. It 
seems to be also in general admitted, that in the 
delineation of the passions, the effect should 
be subdued and restrained, to give a free scope 
to the imagination. It is possibly for this reason: 
in the contemplation of a work of Art, sight 
and fancy must be permitted to act upon each 
other; excitement once depicted, leaves nothing 
beyond ; fancy is imprisoned ; the mind grasps 
the subject, it has nothing to learn, it has no flut 
tering throb of expectation, the transitory cha- 
racter of the scene is destroyed, and the im- 
pression of the duration of passion becomes re- 
volting. 

** Non liber aeqne, non acuta 
Sic geminant Corybantes «ra 
Tristes nt ine.” 

Yet a picture that should represent “ this furious 
anger" could hardly please ; if the fact be remote, 
the feelings it should awaken have become neutral ; 
if of recent occurrence, it is not enhanced by the ad- 
ventitious aid either of memory or of imagination; 
for the events of which we are the contemporaries, 
so completely invest the mind that no fancy can 
allure the attention, no Art can imitate the truth ; 
and thus an historical has more the character of a 
material picture as opposed to poetic conception. 
If beauty breathe upon the canvass, the idea of 
deformity is with difficulty admitted ; it is a poetic 
licence, form and expression become governed by 
the imagination, whicn heightens or controls effect, 
not that there should be less truth but more ge- 
neral harmony. "Alexander," says Sir Joshua 
Reynolds, “ should not be represented of mean 
stature, nor Agesilaus lame in portraits it is the 
intellectual resemblance, in history it is the action 
which masters; it is the feature of the warrior, 
the strife of passion and of force we desire to wit- 
ness ; the mind portrays the subject, and realizes 
without minuteness the event. Nor is depravity of 
character increased by degradation of form ; Ed- 
mund, in “ Lear," may speak as a demon in the 
form of an angel of light ; Richard the Third— 

*' Cheated of feature by dissembling nature,” 
could not be less odious by ideal treatment. The 


disgusting and the frightful, however remote the 
scene, or imaginary the accident, are rather ad- 
mitted by their probable reality, or dependent cir- 
cumstances upon the scene. Thus, Hector, dragged 
at the victor’s car, — 

“ Squallentem barbam et concretos sanguine crines,” 
is still Hector. Thought which creates time, for 
time is but an arbitrary division of extension, com- 
prises in one moment the events of years. We con- 
sider the hero great in council, eloquent in debate; 
we hear his herald shout of victory, borne above 
the sweeping tumult of the battle-cry , or opposing 
the onset with the calmness of conscious strength, 
as a tall cliff stands unmoved amid the tempest 
surge which idly dashes, or rolls backward from its 
base ; and in him hope, esteem, feeling, and affec- 
tion are so concentred, that the higher emotions 
of the mind are alone awakened ; and every un- 
pleasing sensation, existing in the details of his 
death, becomes either subsidiary or removed. 
Where this is not the case, where the main action 
of the scene is not relieved, and the eye rests on 
physical suffering alone , the subject may be nar- 
rated but not depicted. Thus, the punishment of 
Marsyas — 

“ Clamant! cutis est summos derepta per artus : 

Nec quicqu&m nisi vulnus erst; cruor undique 
manat: 

Detectique patent nervi ; trepidaeque sineulla 
Pellemicant venae: salientia viscere nossis 
Et perlucentea numerare in pectore fibres,” 

is in itself not more terrible than the death of 
Hector, but it is unrelieved ; our sympathy is at- 
tracted to his suffering, in which our thoughts con- 
centre : the effect, which is lost in the co-existing 
details of poetry, obtains in painting a predomi- 
nantly independent power, ana from the influence 
of the disgusting and the frightful, the mind in- 
stinctively recoils. The cause of this may be 
traced, it arises from the association of ideas ; a 
picture is suggestive of facts with which we are 
familiar, we are insensibly transferred to the scene, 
and we judge as if in actual relation with its event. 
There is no point, however, of more frequent dis- 
cussion than the mode of composition more suited 
to the historical portrait ; it is upon correct decision 
in this respect that the character of the picture 
will depend. If it be neither an exact minute re- 
presentation of the individual, nor yet completely 
ideal, every other circumstance may correspond ; 
the fact may then be treated as the romance of 
history, costume may be neglected or employed 
for the sake of colour, and the accessories of the 
scene may be obtained from every period, or trans- 
ferred from any clime. 

The French, who in real life illustrate the great 
truth, that — 

“ All the world’s a stage, 

And all the men and women merely players ;” 
who consider perfection to exist in sculptured 
form, and artificial situations, produce effect, not 
reflective of the ease, simplicity, and truth of na- 
ture, but of the prescribed, regulated, and height' 
ened situations of the drama. Now the power of 
the stage rests on the approximation of the remote 
to the spectator, but the aim of the artist is to 
recall the mind to the scene of the action. The 
common events of life are the materials, but do not 
constitute dramatic situations : these arise from the 
combination of human passion with ideal circum- 
stance, where exact truth is not required, and 
where fiction does not exclusively prevail. But 
an historical picture must be truth, whether re- 
presenting the individual, the event, manners, or 
costumes of the times. Thus, in portrait, iden- 
tity does not exclude ideality ; but identity should 
prevail over the ideal ; all minor details must be 
strictly characteristic and accordant, and the 

“ individual be 

A chord, that in the general consecration 
Bears part with all in musical relation.” 

The opinion of the necessary identity of the por- 
trait is now so generally admitted, that objections 
have been urged against the decoration of the New 
Houses of Parliament with subjects selected from 
English history, upon the plea that, even as re- 
gards our kings, the portrait must be ideal. I 
trust that the details that I shall now give will 
prove the want of authority for this assertion. 
The portraits cited are in works of the highest au- 
thority, and have been taken from the sculpture on 
the tomb, missals, stained glass, and mural paint- 
ings, either of the time or shortly subsequent. 

Alfred, King — in Asser. Men. Annales, edited 


by Wise ; from an ancient sculpture ;— and Portrait 
in Spelman’s Life of Alfred. 

Harold in full costume (two portraits) ; William 
the Conqueror and Mathilde his wife; 'William 
Rufus in youth — in Montfaucon, Monarchic Fran- 
9oise. 

Robert, Duke of Normandy, from Gloucester Ca- 
thedral. 

Henry II. and his queen Eleanor de Guienne — 
in Montfaucon, Monarchic Fran^oise. 

Henry III., from Westminster Abbey; Henry 
IY. ana his queen Joan of Navarre, Canterbury 
Cathedral; Henry V., Westminster Abbey — in 
Gough’s Sepulchred Monuments. 

Henry VII. and his Queen, painted window, 
St. Margaret’s Church, Westminster. 

Edward I. and his queen Eleanor, from West- 
minster Abbey — in Gough’s Sepulchral Monu- 
ments. 

Edward II., in Gloucester Cathedral — Stot- 
hard’s Sepulchral Monuments. 

Edwara III. and his queen Philippa, from West- 
minster Abbey — in Gough’s Sepulchral Monu- 
ments. 

Edward the Black Prince, from Canterbury Ca- 
thedral; Richard I., from his effigy at Fontev- 
raud; Berengeria his queen; John, from Wor- 
cester Cathedral; and Isabel d’Angoulesme his 
queen — in Stothard’s Monuments. 

Richard II. and Anne his queen, from West- 
minster Abbey — in Gough’s Sepulchral Monu- 
ments.* 

Thus, from the time of Harold to Henry VII., 
very casual research and limited means have enabled 
me to select an almost historical series of royal 
portraits. They ore taken from monuments, 
some still existing, others destroyed, particularly 
those of France, but by which, even so late as 
Stothard, the engravings were corrected. If it be 
objected that portraits such as these are not suffi- 
ciently authentic, it should be recollected they 
were executed by men of great merit as artists, 
when the term portraiture was distinctively ap- 
plied to works of this description ; and the trophies 
of death were made to reproduce, in so far as 
wealth and Art permitted, the resemblance of the 
past magnificence of life. Monumental painting 
is capable not only of encouraging the highest ten- 
dencies of Art, but to impress upon the mind a 
more just idea of the gradual development of the 


social state. The present, like the gigantic halls 
of the Egyptians, should be the legendary and his- 
torical guide to the great sanctuary of the future ; 
and as that reflective people sought, in their public 
works, not merely to recreate the sense or the 
imagination, so should we, upon whom a higher 
destiny is bestowed, seek from time its storied 
lesson, humanity its ennobling principles, and from 
life its varied scene ; not reproducing impressions, 
which rapidly succeed each other as the flitting 
shadows on the mountain side, but those moral 
truths, deep and abiding, which direct the energy 
of youth, and solace the decrepitude of age; 
without the due observance of which genius is a 
misdirected passion, and the force of nations a 
selfish ambition; truths, that do not solely de- 
termine the character of individuals, but the right 
that a nation possesses for respect, not only from 
contemporaneous opinion, but the silent award of 
time. I hear it said, “ We are the motive cause 
of the civilization of the world ;" worlds, unknown 
to the Roman, now advance in the social scale be- 
neath our sway : if we have a greater power, we 
have then a greater responsibility for its exercise ; 
there is a higher claim tnat Britain, once described, 
“ et penitus toto divisos orbe Britan nos,*’ 

“ ■■ ■ should shed her laws, her polity. 

Her cultured language, and her peaceful arte. 

All she had stored from her own toils, and all 
That came from Rome or Greece transmitted down. 
A glorious gift ! o’er half the peopled globe 
There to survive, when she, perchance, may be 
What Rome or Greece are now.” 

S.R.H. 

* In addition to the works here cited, that by Mr. 
Shaw, “ Dresses and Decorations of the Middle Ages,” 
contains some very useful information, and coloured 
illustrations. 


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158 


THE ART-UNION 


[July, 


THE WILKIE TESTIMONIAL. 

On Saturday, the 11th ult., was held at the 
Thatched-house Tavern, a meeting of subscribers 
to the Wilkie Testimonial, for the purpose of finally 
resolving upon the best method of doing honour 
to the memory of the late Sir David Wilkie. 
Among the gentlemen present were the Right Hon. 
Sir R. Peel SirM. A. Shoe, the Bishop of Llandafij 
Sir Peter Laurie, Sir Charles Forbes, Sir Thos. 
Baring, Dr. Lander, the Hon. W. Leslie Neville, 
Mr. Peter Laurie, and Mr. Allan Cunningham. 

Sir R. Peel was, at one o’clock, called to the 
chair ; when he stated that he believed every gen- 
tleman present wae well acquainted with the ob- 
ject of the meeting, and that it was to select what 
should be considered the most suitable memento to 
the distinguished talents of their late revered friend 
and countryman, Sir David Wilkie. He appre- 
hended that the most regular course for him, in the 
first place, to pursue, would be to read to the 
meeting the resolutions passed at the last general 
meeting, held in August last. Although the com- 
mittee were fully authorized to carry out the ob- 
jects of a testimonial to Sir David Wilkie in any 
way they thought proper, still they were bound, he 
thought, by the resolutions of such meeting to 
erect a statue. He (Sir R. Peel) was not aware 
that they were bouna to expend the whole sum 
raised for that purpose; and therefore it would be 
competent for any one to propose that day, if he 
thought proper, that some portion of the sub- 
scription should be expended in a testimonial of 
any other description. 

The resolutions of the previous meeting having 
been read, 

Mr. P. Laurie stated that he had the pleasure to 
announce, as joint-treasurer with Sir P. Laurie, 
that the amount of subscriptions, up to the present 
time, were .£1903 15s., of which sum £1555 13s. 6d. 
had been already received by them. He (Mr. 
Laurie) had no doubt but the remaining, or un- 
paid amount of £377 Is. 6d. would be promptly 
paid, and that, taking into consideration all fur- 
ther contemplated disbursements, they might with 
safety calculate upon the sum of £1600 to be ap- 
plied solely to the purpose of a testimonial to the 
late Sir David Wilkie. (Hear, hear.) He had 
forgotten to observe, that amongst the contri- 
butions, the British Institution and the Scottish 
Society, in both of which Sir David Wilkie was a 
most distinguished member, had munificently sub- 
scribed the sum of 100 guineas each to the testi- 
monial (hear, hear); and it had been suggested 
that it would be advisable that one or more medals 
should be introduced, to be called the Wilkie Medal. 

Sir P. Laurie said, he considered that the sum 
of £1200 would be sufficient to erect a statue, 
either of marble or bronze, to Sir David Wilkie in 
the National Gallery ; and he would suggest that 
the remaining £400 be appropriated to the insti- 
tution of a medal in the Scottish Society and 
British Institution, to be called the Wilkie medal. 

Mr. A. Cunningham trusted that they would 
not think of starving the statue for the sake of the 
medals. He thought that the sum subscribed was 
not more than sufficient for the erection of a statue 
worthy of the merit of Sir David Wilkie. (Hear, 
hear.) 

The Chairman said of course he did not 
wish at all to say anything that might influence 
the meeting, but his strong opinion was, that 
£1600 ought to be applied to tne erection of a 
statue. He thought it ought to be a work credit- 
able to British Art ; and he did not think that they 
ought to expect an artist of distinguished merit to 
take it without being fairly remunerated for it. 
(Hear, hear.) Ambition in the artist, and a de- 
sire to distinguish himself by having his name 
coupled with that of Wilkie, might inauce him to 
undertake the work for £1200 ; but then, they 
must all deeply regret his not being fairly remu- 
nerated. (Hear.) It would cause the statue to be 
unworthy of the name of Wilkie. (Cheers.) This 
statue would be the first thing strangers and 
foreigners would look at, as the monument of one 
of the greatest of British artists ; and he should be 
very sorry if that monument did not sustain the 
reputation of British Art, and therefore he thought 
certainly that £1600 was not at all too much ; 
indeed, he should be unwilling to refuse £2000. 
(Hear, hear.) His own opinion was, that the 
statue should be as worthy of the artist as possible. 


Sir P. Laurie took the liberty of suggesting that 
the resolution should say the amount of subscrip- 
tion, specifying the sum of £1600, as they might 
obtain more than that sum. 

The Chairman said he thought the resolution 
ought to be worded, that the whole sum collected 
should be appropriated to the erection of a statue, 
as a question might arise if the specific sum of 
£1600 was named, and they got £1700, of how 
they were to appropriate the remaining £100. 

The Bishop of Llandaff said that the authorities 
of St. Paul’s cathedral would not allow any statue 
to be erected in that cathedral unless the artist was 
paid a minimum price of £1000, therefore he 
thought that the sum of £1600 could not be con- 
sidered too much. 

The Chairman then put the resolution, which, 
it appeared, had been previously moved by Sir P. 
Laurie, to the effect that the amount of subscrip- 
tions be applied to the erection of a statue. 

The Chairman said they had then to consider 
a most important question, namely, to whom the 
execution of this work was to be committed, and 
what steps they should take with a view to the 
selection of an artist to whom the work should be 
entrusted. This was the next question they had to 
consider. 

Afte( some discussion the appointment of a 
sculptor was deferred until a future meeting of the 
Committee, which was determined for the 2nd 
inst. • 

We cannot help remarking and lamenting the 
continual divisions that take place in all commit- 
tees charged with the direction of public works of 
this kind. An impression is gone forth, that the 
artist is virtually determined upon — all but pub- 
licly appointed to the work — yet others are invited 
to compete; should this turn out to be the case, 
is it just in this committee to trifle with the 
valuable time of artists ? Should it be so, what a 
farce is all competition under such auspices 1 

ROYAL IRISH ART-UNION. 

This Society has progressed most marvellously. 
The lists, which closed on the 30th of June, gave 
the amount of subscriptions for the year 1842 at 
about £3500, an increase of nearly double the sum 
collected last year, and about five times that of 
the year preceding. Much of this success is attri- 
butable to the issue of the print of i The Blind 
Girl,' engraved by Mr. Ryall in a very masterly 
manner ; and which is certainly superior to any 
work of Art hitherto issued by an Art-Union 
Society in this country. The print now in progress 
will be greatly superior to it, considered as a work 
of Art, and also in reference to the interest of the 
subject; moreover, it will be a line engraving. 
The etching is rich in produce ; and an impression 
will, we have no doubt, be of much greater value 
than the guinea it will cost. We understand that 
plans are in operation for rendering this branch of 
the Irish Art-Union really serviceable to the cause 
of Art, and that, ere long, engravings of a truly 
national character will be announced as “ in 
progress;” the committee not designing to con- 
tent themselves, and satisfy the public, by multi- 
plying mere water-colour drawings, which are but 
little calculated to advance the great purpose of 
the Institution. 

The Committee of the Irish Art-Union have, 
very properly, resolved upon destroying the plate 
of the ‘Blind Girl,’ when the stipulated number 
of prints have been taken from it. This is keep- 
ing faith with the subscribers, and preventing the 
issue of bad impressions. The copper has yielded 
above 1300 ; and the print having become rare has 
increased in value . Confidence is thus established ; 
and there can be no doubt that to this circum- 
stance, mainly, this augmented list is to be attri- 
buted. 

The project was, however, strongly opposed ; a 
very warm discussion took place upon the sub- 
ject ; but the following resolution was ultimately 
carried : — 

“ Resolved — With a view to the keeping strict 
faith with the original subscribers of the Royal 
Irish Art-Union for the years 1839 and 1840, who 
have each received an impression from the steel 
plate of ‘ The Blind Girl at the Holy Well,' that 
said plate be now destroyed, to prevent the possi- 
bility of the print getting into general circulation 
at any future time ; and also to satisfy the sub- 


scribers at large that, with the exception of a few 
complimentary impressions, such as those voted 
for presentation to her Majesty the Queen, Prince 
Albert, Sec., no one but an original subscriber has 
or can become possessed of that print, as by a rule 
of said Society established.” 

The Committee have, we repeat, acted not only 
in strict honour, but in perfect wisdom : and have, 
by this act, gone far to establish the Institution. 
To the hon. sec., Stuart Blacker, Esq., we have 
had occasion to make frequent reference. To his 
exertions we are indebted for the existence of this 
Society; and to his zealous and persevering in- 
dustry we are to attribute its present high and 
palmy state. 

Unfortunately, however, the supply is not equal 
to the demand. A sum of about £3500 has been 
contributed, in guineas, to be expended in the pur- 
chase of pictures exhibited in Dublin ; and the 
exhibition from which the selection must be made 
is now open in the gallery of the Royal Hibernian 
Academy. A leading -feature in the plan of the 
Art-Union is to encourage native talent by the 
purchase of works by native artists. This is, in all 
respects, just and wise ; but they do not, as the 
Scottish Society does, exclude the works of artists 
of England or Scotland. Notwithstanding that 
this fact is extensively known, the contributions of 
English and Scottish painters have been singularly 
few : we notice, indeed, in the collection, the 
works only of Creswick, Stark, Pyne, Clater, Jut- 
sum, the Wilsons, sen. and jun., and two or three 
others whose works have each and all been pur - 
chased by the Society. But even these artists 
have not sent to Dublin their best works ; having 
transmitted, we believe, without exception, pic- 
tures that have not found purchasers in places 
where they have been previously seen. On many 
accounts this is to be lamented ; chiefly because it 
forces upon the Committee the necessity of expend- 
ing their money in buying works that are com- 
paratively worthless. 

The Royal Hibernian Academy have long been 
proverbial for doing nothing to promote the Arts 
m Ireland. They are the only body of the kind in 
Great Britain, who receive an annual grant from 
Government — a grant of £300 a year ; and their 
gallery and apartments (a very handsome and con- 
venient structure) they hold rent free ; the build- 
ing having been erected for them by a patriotic 
gentleman, an architect of Dublin. The Society 
consists of 12 members and 10 associates ; and 
with some two or three exceptions, they are 
painters of the veriest mediocrity. A few years 
ago, when the Arts were in a low state in Ireland, 
and there was neither public encouragement nor 
public recompense for their professors, this was an 
evil of which it would have Wen scarcely just to 
complain ; but during the last three or four years, 
the popularity of the Irish Art-Union has made 
the Arts popular, and a large annual sum has been 
subscribed to reward the labours of the artists. 
Yet the results have been by no means satisfactory 
— there has been little or no perceptible improve- 
ment in the Institution, and no one man of great 
ability or good promise has arisen out of the 
fosterage of the country. On the contrary, some 
men who were formerly members, but are now 
pursuing their profession in London, seem desirous 
of cutting all connexion with it ; and appear to 
have scrupulously withheld their contributions 
from its annual gatherings. 

This is greatly to be deplored ; the members are 
content with achieving mediocrity, because it is 
rarely contrasted with excellence ; and the inevita- 
ble consequence is that there will be no important 
improvement. 

Our remarks will be Idle if they do not stimulate 
the better Irish artists to exertions for the arts in 
Ireland : and almost equally so if they do not stir 
up the English painters to contribute to these an- 
nual exhibitions — so as to create a right spirit of 
rivalry, to show good models, and to instruct the 
public mind in appreciating what is excellent, that 
inferiority may be neither aesired nor tolerated. 

We shall in our next offer some comments upon 
the Exhibition, selecting for observation such of 
the pictures as are prominent for something ap- 
proaching “ the gooa,” amid a mass of inferiority. 


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1842 .] 


THE ART- UNION 


159 


THE BRITISH INSTITUTION. 


EXHIBITION OP THE WORKS OF THE LATE BIB. hi$ Palace of 


devote to them, to do little more than enumerate 
them. 

No. 1. 4 Kins George the Fourth’s Entrance to 
his Palace of Holy rood House, the 15th of Au- 


DAVID WILKIE, R.A. 

This is to the public the most interesting, and 
to artists the most profitable exhibition that has 
for years been submitted to them ; indeed, since 
the works of Reynolds and Lawrence were collected 
and simultaneously shown, we remember no simi- 
lar exhibition equal in attraction. We find here 
works from the earliest to the latest period of Wil- 
kie’s career, wherein we trace not his progress to 
excellence — for he attained to it at once — but those 
changes in his method of working, which, although 
the result of greater confidence, were not produc- 
tive of improved effect ; as also a radical change in 
his style of subject, effected with an ardent wish to 
base his fame upon something morally higher than 
domestic painting. Most of his famous pictures 
now hang on the walls of the British Institution 
(with the exception of those in the national col- 
lection, and one or two others) ; an exhibition 
which, in a late number of the Art-Union, we 
expressed a hope to see, before, we believe, it was 
determined upon by the (governors of the Institu- 
tion. The world is familiarized with every one of 
these compositions by means of engraving; but 
this is not enough to the artist, whose inquiries 
extend to colour, handling, &c., and the many 
niceties which they involve ; nor to the lover of 
Art is the mere sight of these extensively circu- 
lated prints enough, for we cannot well conceive 
one who, possessing an engraving from any par- 
ticular picture, would not embrace a convenient 
opportunity of examining the original. Such rea- 
sons alone will render this a memorable exhibi- 
tion. We have of late seen much of Wilkie in 
every style which he practised ; and all must con- 
cur with us in the opinion, that had he not in 
earlier times produced better pictures than those of 
which he was more recently the author, never 
had he achieved the high place he occupied in the 
consideration of the world. 

This assemblage affords an opportunity of col- 
lating the works of all the periods of one of the 
most celebrated men that ever practised painting 
— an occasion which, with all its attendant cir- 
cumstances, has never been surpassed in interest 
to those who appreciate such qualities as those 
whereby Wilkie rose to eminence. 

In saying that Wilkie attained at once to ex- 
cellence, we mean not, be it understood, that he 
did not graduate from bad to better and thence 
again to perfection, but we mean that his advance 
had in it none of the halting of ordinary progresses 
to excellence. His earliest picture in the present 
exhibition bears date 1802, and is a production as 
indifferent as might be expected of him at that time. 
We cannot, in these pictures, recognise a variety 
of styles : a style requires to be confined by more 
than one picture painted in a particular taste. 
There were but two great epochs in Wilkie’s pro- 
fessional career, in the former of these he was 
great and alone, and it was then that he secured 
such a hold of the affections of his countrymen, 
that although he forsook himself, their love yet 
abode with him, and they themselves knew not its 
strength until death divided him from them. As 
the tribes of old forsook their own salvation so he 
forsook himself, and like them set up unto himself 
idols of wood. We may, changing the time, apply 
to him the stern truth of Cicero, “ tanti fuit aiiig 
quanti sibi fait but although he thus, like the 
shadow in the Persian fable, passed by his own 
substance, he was yet followed for what he had 
done. Wnen he had produced even some of his 
best pictures, his experience in oil painting was 
comparatively nothing; we find him, therefore, 
in his early works casting about and feeling for 
the best methods of expression ; he certainly found 
it, but like all true genius he was never satisfied 
with his own work. Some of his first pictures 
have a strong leaning to the Dutch style, yet they 
all differ, ana succeed each other in the manner of 
some modem novels, as 44 Hardness, by the Author 
of Softness,” and vice versa. Take the exhibition, 
however, as a whole, there is no modern school of 
Art that can muster a similar collection with even 
one picture comparable to some of these. A 
chapter were necessary to do justice to each of 
Wilkie’s famous productions — they are so well- 
known that we attempt, in the little space we can 


his ralace of Holyrood House, the 15th ot Au- 
gust, 1822,’ painted in 1830 ; her Majesty. This 
picture partakes much of the latter method of the 
artist, but is by no means so free and so abun- 
dantly glazed as subsequent works. It contains a 
multitude of figures, but all subservient to that of 
the King, who wears a military uniform. The 


notwithstanding, a first-class specimen of the 
master. 

No. 14. 4 Chelsea Pensioners reading the 

Gazette of the Battle of Waterloo,’ 1822 ; Duke of 
Wellington, K.G. It is curious to observe how 
faithfully the locale is described in this picture. 
It is the entrance to the Hospital as it is now, and 
as it was twenty years ago: there is no change 
save in some of the actors themselves, who have 


keys of the Palace are presented by the Duke of 
Hamilton, first peer of Scotland ; and on the right 
of the King is the Duke of Montrose, Lord- 
Chamberlain, pointing to the entrance of the 
Palace, where is stationed the Duke of Argyll in 
his family tartan, as Hereditary Keeper of the 
Household. Behind the last is the crown of 
Robert the Bruce, borne by Sir Alexander Keith ; 
and on the left of the picture are the Earl of 
Hopetoun, near to whom is Sir Walter Scott in 
the character of historian, or bard. The likenesses 
are striking to a degree, and the Duke; of Argyll, 
wearing the tartan of his clan and the ensigns of 
chieftainship, is a most noble figure : the Highland 
garb sits well upon him, and seems not to have 
been assumed merely for the nonce. 

No. 2. 4 The Siege of Saragossa,’ painted in 
1828 ; her Majesty. Better known as 4 The Maid | 
of Saragossa,’ and familiar to the art-loving pub- | 
lie through the engraving. Many conflicting opi- 
nions have been pronounced on this picture, but 
we cannot concur in those which would depreciate 
its merit in any marked degree. 4 The Maid of 
Saragossa’ was not beautiful, but, like Waverley 
before his aunt Rachel, resolved that he should see 
the world, Wilkie also has endued his heroine with 
grace and beauty, and very properly so ; indeed, 
he seems to have filled his mind with the spirit of 
the lines, beginning — 

“ Ye who shall marvel when you hear her tale. 

Oh, had you known her in her softer hour,” Ac. 

The picture declares a decided and successful 
effort to break away from the domestic style of the 
heads prevalent in other works. The movement and 
passion of the figures-— the instant so well defined 
that the spectator awaits breathlessly the report of 
the gun, and other important matters — sink into 
nullity all subordinate faults. 

No. 4. 4 Her Majesty Queen Victoria,’ painted 
1841 ; Sir Charles Forbes. This is a full-length 
portrait, a style of Art which Wilkie’s friends 
wish he had never adopted. It is embrowned with 
that fatal glaze which seems to send all these por- 
traits into their own backgrounds. 

No. 9. 4 Her Majesty Queen Victoria at her 
First Council,’ painted 1839 ; her Majesty. This 
picture must be so fresh in the public remem- 
brance as to require no particular description ; it 
is, however, remarkable, that wherever we find, 
in these works, portraits constituting anything 
like a subject, they are always better painted than 
if the same heads had formed individual por- 
traits. We should have liked to have heard this 
anomaly accounted for from the lips of Wilkie 
himself. 

No. 10. 4 John Knox Preaching,’ 1832; Right 
Honourable Sir Robert Peel, Bart., M.P. We 
are glad of having had such an opportunity of ex- 
amining this picture as is here afforded. It will, 
at once, strike the spectator that in the engraving 
there is a higher light thrown on the Queen than is 
found in the original, even allowing for the sink- 
ing of colour, Sec. The glazing matter lies in 
welds on some parts of the surface, and many of 
the background heads are flattened into the can- 
vass by it. In painting this picture, Wilkie seems 
to have been actuated by a determination to show 
that, although he painted domestic scenes, he was 
not unfitted for a higher walk; there is every- 
where evidence in the work that he felt himself 
driven to this in what he, perhaps, deemed self- 
justification. Like all things which are good it has 
its declaimers, but these are not to be heeded ; 
every competent judgment must admit it to rank 
with the very best of its kind. 

No. 11. 4 The Penny Wedding,* 1818; her 
Majesty. This is the most remarkable of the 
last pictures painted by Wilkie in his really 
characteristic manner: all his celebrated works, 

4 The Blind Fiddler,* 4 Distraining for Rent, 

4 The Rent-day.’ &c. &c., preceded this produc- 
tion. The shadowed parts of the work are not so 
transparent as the same in earlier works, but it is, 


canvass, m a neat measure, from Chelsea. This 
picture is brilliant and will remain so as long as it 
hangs together : it contains some of the most ex- 
pressive heads that were ever designed by an in- 
spired pencil. 

No. 15. 4 Blind Man’s Buff,’ 1812 ; her Mgjesty. 
Another of the famous series whereon the great 
name of the author rests ; the picture is in admir- 
able preservation and is distinguished by all the 
care and nicety of his finest works. 

No. 16. 4 The Sick Chamber,’ 1808; F. G. 
Moon, Esq. This composition may not be so 
well-known as many others of the same and a 
later period ; it is, however, second to none in the 
pathos of its narrative. 

No. 19. 4 The Rabbit on the Wall,’ 1816; T. 
B. Brown, Esq. This picture has lately been 
purchased at a high price ; and if such declaration 
of its value be compared with the prices of others 
of the artist’s works lately disposed of, it will suffi- 
ciently show that the public taste is just in the 
estimation of them. 

No. 25. 4 The Errand Boy,’ 1818 ; Sir John 
Swinburne, Bart. The subject will be remem- 
bered as a boy mounted on a very Morlandisch 
pony ; and having arrived at his destination, is 
about to draw from his pocket the note which two 
female figures are waiting at the door to receive 
from him. 

No. 26. 4 Death of the Red Deer,’ 1821 ; Miss 
Rogers. The fat buck is extended on the (pound, 
while the piper (for the scene is in the Highlands) 
celebrates 44 the death” with the accustomed 
triumphal music. 

No. 27. 4 The Newsmongers,’ 1821 ; Robert 
Vernon, Esq. This picture was engraved for one 
of the Annuals, as were many other of Wilkie’s 
minor works: it consists of a group listening to 
one of the party reading a newspaper. 

No. 28. 4 Portrait of Sir Peter Laurie ;* Sir 
Peter Laurie. A three-quarter portrait ; the like- 
ness is perfect and the head is among the best of 
this class ever painted by Wilkie. 

No. 31. 4 The Jew’s Harp,’ 1807; William 
Wells, Esq. A small picture containing only three 
figures, and in parts somewhat more free than 
other works of its time. The earnestness of the 
player is admirably expressed. 

No. 32. 4 The Bagpiper,’ 1812 ; Robert Vernon, 
Esq, A single figure, who, unlike most of his 
calling, wears a hat ; but it is sufficiently evident 
that it is a study from the life, and coloured in a 
manner as masterly as anything the author ever 
painted. 

No. 33. 4 Scene from the Gentle Shepherd ;’ 
Thomas Wilkie, Esa. Every figure in tne com- 
position is a study from rustic life; but if the 
artist reach not the sentiment of the poet, he is 
doubly at fault, since the most common-place 
incidents described in poetry, come to him 
with a double refinement. We know of few 
painters of celebrity less fitted for poetical paint- 
ing than Wilkie ; yet we ought not to speak thus 
of him individually ; for where is there a painter 
who has not, at some period of his career, at- 
tempted a style of Art in which he was in every 
way unfitted to succeed ? 

No. 34. 4 The Cut Finger,’ 1809 ; W. H. Whit- 
bread, Esq. The flesh shadows in this picture are 
much more red than we find them in other pic- 
tures; and the head of the child is too large; 
other parts of the composition are sufficiently 
Wilkie-like. 

No. 35. 4 The New Coat,’ 1807 ; M. Stodart, 
Esq. Of the three figures composing this work, 
the tailor is the most intelligent ; indeed, the heaa 
is forcible to a degree. The student looks as if he 
had been baited into dulness by examination — he 
is at any rate a dull craft, a heavy sailer over the 
text of Sophocles. 

No. 40. 4 Benvenuto Cellini and the Pope,* 
1841 ; Henry Rice, Esq. This is one of Wilkie’s 
larger pictures ; all of which that contain a display 


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of drapery will remind the spectator of Rubens* 
method of dealing with this part of his composi- 
tions. Cellini is presenting to the Pope one of 
his highly-wrought vases. 

No. 42. * The Parish Beadle,* 1823 ; Lord Col- 
borne. Most of the figures in this picture are in 
little, precisely what so many of the portraits of 
this distinguished artist are in large. The manner 
of the work is so different from those of a better 
period, that it might be pronounced a bad foreign 
imitation. The shadows are black and opaque, 
and, but for some of Wilkie’s own children, 
scarcely should we recognise the authorship. 

No. 43. 4 The Breakfast,* 1817 ; Duke of Su- 
therland, K.G. A much more luminous produc- 
tion than the preceding, consisting of four figures 
— an elderly couple, a visitor, and servant, all in- 
comparably made out, especially the old lady, who 
is superintending the making or the tea. 

No. 44. 4 Distraining for Rent,* 1815 ; W. Wells, 
Esq. Certainly one of the most valuable of Sir 
David Wilkie's works. No language can excel the 
perspicuity with which the story of distress is told; 
for every figure is in unison with the whole. This 
work is so well known through the engraving, that 
no description is here necessary. 

No. 45. 4 George the Fourth in Highland Cos- 
tume,* 1832; Duke of Wellington, K.G. ; and 
No. 46, t His Royal Highness the Duke of Sussex 
in Highland Costume,* 1836; her Majesty — are two 
of the best of the full-length portraits. 

No. 47. ‘Duncan Grey,* 1814 ; J. Sheepshanks, 
Esq. It is to be regretted that Wilkie did not 
further cultivate tins tone of sentiment; for no- 
thing that has ever been painted comes home to 
the heart with a force equal to this. Throughout 
these works the narrative is generally aided by 
action, but here the auxiliary is thrown aside, and 
the argument is detailed in language intelligible to 
the most obtuse sense. The distinctive expres- 
sions of persuasion, obduracy, and disappoint- 
ment, place the artist, albeit his picture is neither 
heroic nor historical, upon a rank with all those 
who have best succeeded in painting the emotions. 

No. 48. 4 The Card Players,* 1808 ; Charles 
Bredel, Esq. The background is beautifully liquid 
and transparent, in contrast to which the figures 
come out somewhat hard. The laugh of the man 
who holds the best cards is more rigid in the pic- 
ture than in the engraving. 

No. 49. 4 Guess my Name,’ 1821 ; Frederick 
Perkins, Esq. A marked difference is here ob- 
servable between this and the preceding picture. 

4 The Chelsea Pensioners* was in progress about 
this time, but the styles of work in those two pic- 
tures bear no relation to each other. 

No. 50. 4 The Pedler,* 1814 ; Miss Baillie. The 
pedler has asked too much for a gown-piece which 
he is displaying ; and the angry remonstrance of 
the housewives, met by his look of deprecation, is 
equal to the best things of the artist. 

No. 51. 4 Queen Mary Escaping from Lochleven 
Castle,’ 1837 ; E. R. Tunno, Esq. This picture 
pronounces itself at once one of Wilkie’s latter 
works. There is somewhat too much ceremony 
for an escape. 

No. 55. 4 The Rent-day,* 1807 ; Countess of Mul- 
grave. An error in the composition of this famous 
picture is, that the grouping is not sufficiently 
rounded. All the figures are placed nearly upon 
one plane. Like the early and simply-painted 
pictures of the collection, it remains in a fine state 
of preservation, and must ever maintain the high 
place it holds in the public estimation. It is true 
that, like the oysters in the 4 Chelsea Pensioners,* 
it contains contradictions, as some of the tenants 
wear great-coats and cloaks, while another is ex- 
hausted by a harassing cough, all of which would 
argue that they are paying the Christmas rent ; 
but, on the outer hand, the wine is subjected to 
the process of cooling, a circumstance which points 
out that it is the Midsummer quarter. These, 
however, are incidents which, although frequently 
noticed, are beneath the serious observation of the 
critic, since they in nowise compromise the value 
of the picture. 

No. 61. 4 The Highland Family,* 1824 ; Earl of 
Essex. This composition is even more distant in 
style than in years from the bright and beautiful 
works, 4 The Penny Wedding,* ‘Blindman’s Buff,’ 
Ac. The family consists of a Highlander, his 
wife, and child ; but the 44 gu deman” looks out of 
place, being too well dressed for the cottage he 
inhabits; the 44 gudewife,” too, looks more than the 


mistress of the chattels about her ; in short, the 
pair seem to be persons of a higher rank rusticat- 
ing for amusement. Everything in the composi- 
tion is kept in shadow, the tones of which are of 
that heavy and opaque character seen in too many 
otherwise beautiful productions. 

From No. 64 to No. 107 inclusive are prepara- 
tory studies, sketches, and unfinished pictures, 
many of which we recognise as having been dis- 
posed of at the recent sale by Messrs. Christie and 
Manson, as the 4 Head of Talleyrand,* the 4 En- 
campment of the Sheik and Arabs,* 4 Samuel and 
Eli/ the 4 Turkish Letter Writer,* Ac., Ac., be- 
sides other sketches executed at many periods of the 
artist’s life. Of these one only is a finished 
oil picture, No. 84, ‘The Whiteboy’s Cabin,* 1836 ; 
Robert Vernon, Esq. It is a large picture, com- 
posed of three figures, and painted for distant 
effect. The subject is one which would have been 
adapted for a picture for the early series ; but how 
differently would Wilkie have then painted it! 
The whiteboy is sleeping, while his wife and ano- 
ther female seem to oe watching in apprehension 
of his beingapprehended. This production, which, 
in its kind, is a return to the style of subject which 
won for the author his high reputation, we cannot 
help comparing with the works in that style. The 
cabin ana its still-life contents are as they must 
have been then ; the treatment is changed only in 
light and colour, and the change is not an improve- 
ment ; but the place, as a whole, is a cabin of the 
meanest standard — a hovel. Thus we find the 
quality of interior sunk, while that of the figures is 
so much raised, that they assort but ill in character 
with the scene of action. Had this picture been 
painted a quarter of a century earlier, the figures 
would have been to the purpose ; as it is, they 
are inconsistently dramatic. Yet the picture is 
a masterpiece, but not as a Wilkie. The fore- 
shortening of the whispering figure cannot be 
excelled. 

No. 109. 4 Portrait of Mrs. Moberley.* Among 
the larger portraits by Sir David Wilkie, the co- 
louring of this approaches the life as nearly as any 
we have seen. In many of the female portraits of 
the collection we find half the faces lost in broad 
shadows, a most infelicitous manner of painting 
ladies ; but here the face is in a full light, whereby 
the picture is advantaged far beyond others of its 
class, but is yet, in other respects, far from rank- 
ing as a superior portrait. 

No. 115. 4 Digging for Rats,* 1811 ; the Royal 
Academy. This, we believe, was the presentation 
picture to the Academy, and although consisting 
of few figures, and simple in composition, is, per- 
haps, the finest of its immediate class ever painted. 
Some urchins, aided by a couple of terriers, are 
engaged in hunting rats, and the exemplification of 
eagerness and impatience, as well on the part of 
the canine as the human kind, is beyond all praise. 
The background is in clear shadow, and the co- 
louring of the figures is rich and harmonious. 

No. 114. 4 Subject from Burns* Poem of the 
Vision,* 1802 ; James Wardrop, Esq. As a work 
of Art this production is of no value ; it is only to 
be estimated from associations, and as an early 
effort of a subsequently great artist. From the 
youth and inexperience of Wilkie at the time 
of his painting this picture, we do not consider 
it open to remark. 

No. 118. 4 Sunday Morning,* 1805; Countess 
of Mulgrave. The subject is the preparation for 
church ; the washing of the children, Ac. ; a home 
scene so familiarized to young Wilkie that he has 
rendered it with the utmost fidelity ; but the work 
is like those of others of the same period; some of 
the heads are too large. 

No. 118. 4 Village Politicians.’ One of the 
most celebrated of these compositions; but it 
is to be regretted that it is not in such good pre- 
servation as many others equally famous. Any- 
thing as forcible os the noisy and emphatic earnest- 
ness of the group round the table nas never been 
seen in any work of Art, either prior or subsequent 
to this ; but the colour in comparison with that of 
4 Digging for Rats,* is somewhat hard and dry. 
The detail throughout is elaborated to the utmost 
nicety. 

No. 121. ‘The Cotters* Saturday Night, 1837 ;* 
G. F. Moon, Esq. Another of those subjects 
which, in earlier years, would have been treated in 
a manner entirely different. The figures and cir- 
cumstances are wrought to some grades higher 
than the images which the verse of Bums calls up ; 


but from all similar subjects latterlv painted by 
Wilkie, the natural truth and force have been re- 
fined away : this we can term nothing but a disease 
caught by the artist of society, the symptoms of 
which were most markedly shown in his works : 
he was looking continually upwards, and seemed 
to forget the phases of simpler nature. The candle- 
light effect is admirably painted, although the whole 
has been flooded with a brown glaze. 

No. 124. 4 Alfred in the Neatherd’s Hut, with 
portrait of Sir David Wilkie in the background,* 
1806 ; Sir Thomas Baring, Bart. The texture of 
this is different from that of any other of these 
works we have had an opportunity of examining, 
from its being painted on a ticken. Alfred is the 
most remarkable figure in the composition, 
which is by no means equal to the domestic his- 
tories. 

No. 125. 4 Landscape with Sheepwashing,* 1817 ; 
Sir Thomas Baring, Bart. Remarkable as the 
largest landscape Wilkie ever painted. The scene 
is a composition, if we may judge from the cir- 
cumstance of its having been modified from the 
preparatory sketch which hangs near it. It is a 
solid and sensible picture, valuable in its solitary 
state as the production of a man unrivalled in 
another walk of Art. 

No. 128. 4 The Recruiting Party,’ 1805 ; Wynn 
Ellis, Esq., M.P. This is one of the most Dutch- 
looking pictures in the collection, and very unlike 
the 4 Village Politicians,* and other pictures that 
were executed about the same time. It is free in 
touch, and unambitious in sentiment ; indeed, there 
is an entire want of that narrative which aistin- 
guishes even the earliest of these productions. 

In addition to the works of the late Sir David 
Wilkie, there were exhibited others by cele- 
brated artists, to a few of the titles only of 
which we can afford space. These are — 4 A FC*te 
Champetre/ by Watteau ; 4 Adonis going to the 
Chase,* Titian ; 4 Interior,* Teniers ; 4 Dutch 
Boors/ Teniers ; 4 Portrait of Mrs. Robinson,' 
Sir Joshua Reynolds ; 4 A Cottage Girl,' Gains- 
borough ; 4 Portraits of John Bellenden Ker and 
his brother Henry Gawler,' Sir Joshua Reynolds. 

Beautiful, however, as are some of these and 
others that hang upon the walls, the great charm 
of the exhibition is centred in the works of Wilkie ; 
and we congratulate the public and the profession 
on this opportunity of seeing thus assembled the 
works of a man who has enjoyed, during his life, 
a more extended and unaffected popularity than 
any other artist, whatever may have been his dis- 
tinction in his avocation. 

THE ROYAL ACADEMY. 

Seventy-Fourth Exhibition.— 1842. 
This portion of our review of the Exhibition 
was unavoidably postponed last month ; albeit 
our notice has been unusually long. We are aware 
of having passed by many works advancing claims 
to consideration, but we yet look forward to other 
opportunities of rendering justice to merit of every 
degree. 

No. 455. 4 A Highland Reel,' W. Kidd. A 
reel in which the dancers are all men is a heavy 
affair ; there is, however, instead of grace, energy 
and exceeding emphasis. Nothing in the whole 
round of models could come up to the action of the 
figures ; we have, therefore, reason to congratulate 
the artist on their perfect success. 

No. 456. 4 The Village Oak,* J. Stark. This 
is surely suggested by the 44 Deserted Village,” 
though the artist does not tell us so ; or has he been 
reading Crabbe or Bloomfield? for the little picture 
is in a vein of rural poetry, which moves recollec- 
tions of all these, and more — of the scenes they 
describe. 

No. 457. ‘Remains of the Temple of Koum 
Ombos, Upper Egypt,' D. Roberts, R.A. The 
charm of these desert scenes, by this distinguished 
artist, is the perfection of their day-light effect. 
There is little here substantially picturesque, but 
the little that there is, is treated in a manner to 
form a beautiful picture. A few columns are the 
remains — and the life of the composition consists of 
some men and camels. 

No. 458. 4 The Trial of Charles I. in Westmin- 
ter Hall, Jan. 27, 1648-9/ W. Fisk. This work 
depicts the proceedings of the last day of the trial ; 
and the moment chosen, is that when Lady Fairfax 
interrupted the court, by exclaiming 44 Oliver 


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Cromwell is a rogue arid a traitor, and not a hun- 
dredth part of the people are in favour of the trial.” 
This incident illustrated in the work created much 
confusion in the court, and all eyes were turned to 
the gallery, whence the voice proceeded. . Herein 
should have been the force of the composition ; in- 
stead of which the interest is broken and divided ; 
in fact the only sign of surprise and movement, is 
in the action of the colonel directing his men to 
fire into the gallery. The king is well made out, 
but rather too conspicuous, a circumstance arising 
from the court appearing thin. Many of the figures 
are admirably painted, and acquire value from the 
care bestowed in making them likenesses. 

No. 469. 4 A Family Party,* T. Roods. The 
method by which this picture has been painted is 
free and effective. The colour has settled with a 
transparency which will rather gain than lose 
with age. 

No. 478. 1 Portrait of a Lady,* T. Ellerby. 
It is coloured even to the life, and carefully made 
out in all its parts. 

No. 479. 4 Portrait of Lieut-General Sir John 
Macdonald,* R. S. Lauder. The likeness here is 
particularly striking, and the head is altogether one 
of extraordinary power and energy. 

No. 481. ‘The Lesson neglected/ E.A.Gifford. 
An interior with figures and accompaniments, 
rivalling in finish the menage pictures of the Dutch 
school. 

No. 483. 4 On the French Coast at Ambleteuse,* 
H. Lancaster. A coast-view is somewhat of a 
trial for a landscape painter ; for consisting gene- 
rally of so little, the want of objects must be 
atoned for by the finest feeling in leading the eye 
over the generally flat surfaces of which these scenes 
are composed. This example of coast scenery has 
been painted under impressions most favourable to 
the delineation of such subjects. 

No.484. 4 The Watering-place,* F.R. Lee, R.A. 
The objects in this picture are varied ad infinitum — 
yet familiar as they are, we cannot help yielding to 
their appeal, when brought forward with such 
reality as in this picture. A screen of trees, through 
which we see a cottage, confines us to a vividly 
painted fore-ground, traversed by a stream of liv- 
ing water, over which is thrown a rude stone bridge. 
And this is the 4 Watering-place* now under notice 
— a subject which has occupied all the landscape 
painters, majors and minors, of our school at least 
once in their respective lives. 

No. 485. 4 The Covenanter's Marriage, * A. 
Johnston. The book entitled “The Lights 
and Shadows of Scottish Life,** affords the mate- 
rial for this picture ; but the subject is sufficiently 
national to have dispensed with reference to any 
descriptive text. Here are seen at a glance all the 
perils to which the Covenanters were exposed in 
the exercise of their religion and its ceremonies. 
The figures of which the group is composed are 
sufficiently distinct in the outward signs of the in- 
ward essence. 

No. 491. 4 Alfred dividing his last Loaf with the 
Pilgrim,* W. Simson. This trait of the wise and 
excellent king cannot be forgotton; — his queen 
Elswitha remonstrated upon reducing their slender 
store to its half; but King Alfred nevertheless 
shared his all with the pilgrim. The figures are 
painted with much truth, and the story stands at 
once declared. 

No.492. 4 Floretta,' R. Farrier. A picture of 
a disappointed maiden lamenting, apart from her 
companions, her lonely state, 'ITie treatment is 
simple, and the figure, like those generally of this 
artist, is touchingly descriptive. 

No. 495. 4 An English Dell Scene,* J. Wilson. 
jun. A snatch of the green-wood glade, selected 
with taste, and painted with a breadth and effect to 
do nature ample justice. 

No. 496. 4 The Tees,* T. Creswick. 

44 Condemned to mine a channell’d way 
O'er solid sheets of marble grey." 

These two lines from 44 Rokeby ’* accompany the 
title. Surely to be thus 44 versed** by Scott, and 
painted by Creswick, the Tees must become a stream 
as famed in poetry as the renowned Guadalquiver. 
The water is discoloured by a flood, or in the 
language of the north, by a 44 redan jawin* spaet.** 
The trees are, as usual, better than nature. 

No. 506. 4 Meg Merrilies and the Dying Smug- 
gler,* R. S. Lauder. The artist has thrown 
much of the spirit of the text into his impersona- 
tion of the gipsy sibyl ; but the picture generally 


is not so forcible as others he has recently pro- 
duced. 

No. 507. C. W. Cope. 

44 The hawthorn bush, with seats beneath the shade. 

For talking age and whisp'ring lovers made." 

When Goldsmith penned these lines, it did not 
occur to him that he would ever be so fatally mis- 
contrued as in this picture, wherein we find a pair 
l of lovers under the hawthorn, and side by side with 
them a triad of ancient village gossips, discussing 
the contents of a newspaper. Either group would 
have sufficed for the picture, but thus brought to- 
gether, they destroy each other like two antipathetic 
chemical principles. 

No. 510. 4 Broeckenhaven, a Fishing Port on the 
Zuyder Zee,* E .W. Cooke. Art has done every- 
thing for this picture, for the subject is sufficiently 
barren. The artist has essayed to give interest to a 
scene where little occurs save a breakwater of piles ; 
and has succeeded to admiration. A vessel is leaving 
the harbour, and this object is a real and substantial 
representation. 

No. 514. 4 The Giaour/ C. Du Val. The 
style of this work is classicaUy severe : it is a pic- 
ture of deep passion, wherein everything is kept 
down to give effect to the head ; the lights of which 
are coloured with truth, but the shadows are rather 
affected. 

No. 519. 4 The Earl of Cardigan/ F. Grant. 
The largest canvass we have ever seen from the 
easel of this artist. This portrait is equestrian, 
and Lord Cardigan wears the rich uniform of his 
regiment. The horse is in spirited action, to ac- 
count for which, the background reminds us of a 
field-day. It is, on the whole, a grand effort, 
which cannot be pronounced otherwise than per- 
fectly successful. 

No. 523. 4 The Sunny Days of Old/ W. S. P. 
Henderson. Dante affords the subject of this 
picture — it is the well-known story of Francesca 
da Rimini: the lovers are seated, and, of course, 
reading, but they might have been circumstanced 
more according to the feeling of the poetry. In 
the heads there is much intelligence, but the 
drapery wants clearing up. 

No. 525. 4 Termination of the Ravine leading 
to Petrea, or City of the Rock, the ancient capital 
of Arabia Petrea, and the Edom of Scripture/ 
D. Roberts, R. A. On each side towering rocks 
shut in the view of this approach to the city of the 
rock. A few figures are thrown in to show by 
comparison the height of the masses that rise over 
the rugged and winding path. In the distance a 
thin stream of water descends from one of the 
cliffs, and by a sinuous course finds its way down 
the ravine to the supposed position of the spectator. 
The foreground is in shadow, and contrasts well 
with the other parts of the picture, that ore lighted 
by the sun. 

No. 527. - - - - R. Dadd. 

44 Come unto these yellow sands. 

And then take hands, 

Curt'sied when yon have and kissed, 

(The wild waves whist) 

Foot it featly here and there, 

And sweet sprites the burden bear." 

Accustomed as we are to see the poetry of Shak- 
speare painted, we are taught to look for nothing 
beyond the powers and substance of mortal beings, 
in the compositions declared by their authors to 
embody his conceptions. The gnomes, sprites, 
and fairies which we have seen drawn after the 
works of our great dramatist, have always been 
more alcin to ourselves than to that world whence 
have dropped the creatures that move in the 
44 Midsummer Night’s Dream’* and the 44 Tem- 
pest/* for our poetry in art generally partakes more 
of the living model than or the ideal. These re- 
marks are drawn from us by the present picture, 
which approaches more nearly the essence of the 
poet than any other illustrations we have seen. 
The 44 sweet sprites** have joined hands, and are 
footing it in a manner to show that they are not of 
this earth. The thought has its source in the 
purest sentiment, and it is wrought out with much 
modesty; but the author will do well to guard 
against the prevalence of the colour of the figures. 
The picture is fraught with that part of painting 
which cannot be taught — in short, the artist must 
be some kind of a cousin of the muse Thalia. 

No. 528. 4 La Maladie Decouverte/ S. Drum- 
mond, A. A young lady, extended on a couch, 
has been suffering from some malady difficult of 
discovery ; on a visit, however, from the physician, 


who with her mother enters the room while she is 
asleep, the cause of the illness is found to be a 
letter which lies open by her side. 

No. 529. 4 Dominican Monks returning to the 
Convent — Bay of Naples/ W. Collins, R. A. 
The convent is situated on a rock overhanging the 
sea, but the view here presented is from Hie foot 
of the acclivity, which the monks are about to 
ascend. The sea and sky of this picture are ex- 
tremely beautiful ; the atmosphere of the one and 
the marine effects of the other are the perfection 
of Art. 

No. 530. 4 Portrait of the Right Rev. Dr. 
Wiseman, Bishop of Melopotamus/ J. R. Her- 
bert, A. The severity of the style of this work 
will lead the spectator to the conclusion that the 
artist is vying with the great names of an earlier 
period of art. In the head Mr. Herbert rejects all 
the trick of portrait painting ; it is distinguished 
by a solidity which throws us back upon ourselves, 
seeking for 44 reasons/* and 44 upon compulsion/ 
too ; for it is absolutely all argument. 

No. 531. 4 My Grandmother/ M. Claxton. 
Portrait of a child in an old-fashioned costume : 
it is brilliant, and comes forward from a well- 
managed background. 

No. 533. 4 Returning from Market/ J. C. Tim- 
brell. A single figure made out against a sky 
background, by a very well judged arrangement 
of colour. The picture is high, but it seems 
skilfully painted. 

No. 535. 4 The Death of Romeo and Juliet/ 
H. Pickersgill. The death of the lovers is 
clearly told ; the artist, in disposing them in death, 
has felt the circumstances of their sad fate. The 
vault is well painted ; but the most valuable point 
in the work is the head of the old man. 

No. 536. 4 Faint Heart never won Fair Lady/ 
N. J. Crowley. A proverb which, under pa- 
tient treatment, would afford abundant matter for 
an excellent work. Much power is displayed in 
the manner in which it is here illustrated, but we 
would have seen it invested with a more refined 
sentiment. The artist sees his shadows generally 
too black ; this, in practice, gives a heaviness to 
pictures which nothing can relieve. 

No. 537. 4 Who’ll serve the Queen ?* R. Far- 
ri br. Some boys are reading a bill which has been 
posted up to signify the want of recruits. This is 
a picture in the genuine style of the artist, painted 
with perhaps less brilliancy, but not less character 
than we have seen in others of his works. 

No. 538. 4 Scene from the 44 Bourgeois Gentil- 
homme/ *’ T. M. Joy. The scene is between Mons. 
Jourdain and Nicole ; the former delivering to the 
latter, with respect to her work, a caution, which 
is received by her with the 44 hi, hi” of the text 
ably depicted in her countenance. 

No. 539. 4 Morning on the Beach at Hastings/ 
A Clint. This little unassuming picture is cha- 
racterized by infinite sweetness; it is warm and 
mellow without glare, and 

44 Its light is sunshine and its shadow shade." 

No. 541. 4 Portrait of Sir Thomas Baring, Bart.* 
J. Linnell. A work admirably adapted for en- 
graving, as then its manner and colour would be 
sunk. 

No. 548. 4 Cromwell discovering his Chaplain, 
Jeremiah White, making love to his daughter 
Frances/ A. Eoo. The chaplain is on his knees, 
grasping the lady’s hand, and this Cromwell sees 
as he enters the room from behind the arras, which 
hangs before the door-way. We are not to believe 
Frances Cromwell accustomed to many such pro- 
testations, therefore would it have been better 
had she received the vows of Jeremiah White with 
something more of emotion. The rage of Crom- 
well is too dramatic, and his daughter is too much 
dressed ; but the manner of the chaplain is earnest 
enough. 

No. 549. 4 Deer-Stalking,* T. Duncan. This 
picture contains two portraits in a Highland land- 
scape, accompanied by all the circumstances of 
deer-stalking. One of the figures is dispropor- 
tionately too long ; it may be the portrait of a very 
tall man, but the artist should have qualified the 
figure in such a manner as to preserve the resem- 
blance, without conspicuously offending against 
proportion. 

No. 550. 4 An Old Water Mill — approaching 
Shower/ J. Wilson, jun. The materials of this 
landscape compose admirably. The whole is in 
shadow, and it must inevitably rain, for the teem- 
ing clouds are already riding up on the wind. 


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No. 554. 4 Alfred Montgomery, Esq.,' J. Wood. * 
A portrait distinguished by an excellent taste ; t 
everything is subservient to the head, which is ] 
brought forward under the best principles of Art. 

No. 556. 4 Heroes of Waterloo, J.P. Knight, A. ] 
The subject of this picture is the reception by the j 
Duke of Wellington of his guests, on an occasion i 
of the anniversary of the Battle of Waterloo. In 1 
looking at this enterprise (for such it is, duly 
considered), it must be remembered that the artist 
has not been able to deal discretionally with effects, \ 
but every head and figure was to be brought for- i 
ward, individual resemblance being the grand ob- i 
ject. The number of portraits of which the picture i 
is constituted is upwards of thirty ; the treatment ■ 
and posing of which has been, as can easily be j 
imagined, a business of much labour and study. 

As many of the likenesses as are known to us are i 
striking to a degree ; and with respect to the style i 
of execution, it is such as courts examination. < 

No. 371. * Ruth and Naonii— Portraits of a 
Lady and her Daughter,' H. L. Smith. It is a 
singular taste that has dictated this manner of 
circumstancing portraits. The artist in his view 
of it has invoked the spirit of scriptural illustra- 
tion; and if the heads be wanting in apposite force, 
he is by no means in fault. The design is distin- 
guished by much of the greatness of classic art ; 
and in such parts as require perfection of drawing, 
the play of line is in the highest degree graceful. 

OCTAGON ROOM. 

No. 1204. 1 A View on the Rhine,' C. R. Stan- 
ley. The scenery on the Rhine is different from 
that of every other river, and any acquaintance 
with its character leaves an impression never to be 
obliterated. Every river has its own features, and 
those of the Rhine are, at the water’s edge, the 
Rhine towns and villages, and on the towering 
cliffs such castles, or the remains of such, as those 
of Rolandseck and the Drachenfels. This view is 
perfectly Rhenish, and executed with much care. 

No. 1210. 1 Portrait of an Officer of the Blues,' 
W. Yellowlkes. The figure is standing in an 
easy position, and represented of course in the uni - 
form of the regiment; the head is well painted, 
and establishes at once an understanding with the 
spectator. 

No. 1213. 4 Near Woodbridge Farm, Wiltshire,' 

T. F. Wainwright. A small and unpretending 
landscape, having the high merit of resembling na- 
ture very closely. 

No. 1214. 4 Sonning Oaks, near Reading,' E. 
Havbll. Under this title we find portraits of 
two or three children and a large dog : parts of the 
picture are carefully painted, but for want of gra- 
dations of light the figures are hard in the back- 
ground. 

No. 1217. * The Return from Gretna,' T. Cla- 
ter. A hasty marriage having been contracted, 
the pair are returned from Gretna, and the lady 
supplicates forgiveness of her father. The descrip- 
tion is terse and leaves nothing untold, and the 
composition of the picture agreeable. 

No. 1218. 4 Chaucer with his friend and patron, 
John of Gaunt, and the two sisters, Catherine and 
Philippa, their wives,' W. B. Scott. Judging 
from all that can be seen of this work it merits a 
lower site than that in which it has been placed. 
The composition seems well-balanced, the colour 
harmonious, and the figures well-charactered. 

No. 1220. ‘ A Coast Scene,' A. B. Monro. 
The view is of a flat shore entirely without inci- 
dent; but the force of the picture lies in “the 
stormy afternoon," which is dull and cloudy, ap- 
parently wet ; and the scud is driving before the 
wind, in a manner to indicate that it will be 44 worse 
before it is better." 

1224. 4 Summer,' H.J. Boddington. A green 
lane overhung with trees; painted with a care 
which amounts to sharpness and niggling. Some 
shaded portions of the foliage are full and rich, but 
the manner of the near trees is not an improve- 
ment upon what we remember of previous works 
of this artist; the whole, however, composes ad- 
mirably, and the general effect evinces a fine feel* 
ing for this style of art. 

No. 1226. 4 The Timber Barge,' J. Tennant. 
A work in which the most simple management has 
been followed by a most beautiful result. The pic- 
ture glows with a warmth of tone, reminding the 
spectator of Cuyp ; the bright sky repeats its co- 
lour in the water, and at length mingles its tones 
with the distant land with infinite harmony and 


sweetness. A barge is moving slowly up the 
stream, on the shore of which, a little higher up, a 
horse is in waiting to tow it. 

No. 1227. 4 Interior of Penshurst Castle, with 
Portraits,' A. Morton. This is a room with 
figures, furnished in the modern taste, but not so 
well executed as other works we have lately seen 
by the same hand. 

1228. 4 The Temple and Acropolis of Corinth,' 
W. Linton. A work of high merit, signalized by 
many of the rarest beauties of landscape art. In 
the middle distance are the remains or a temple, 
the columns of which come off from the distant 
sky with astonishing reality of effect. To the near 
portions of the picture, a solidity is communicated 
by an admirably managed mass of shadow. 

1231 . 4 Widder Park, on the Teign, near Drews- 
teignton, Devonshire, with Chagtord and Dart- 
moor in the distance,' E. Jeffrey. The manner 
of this picture would induce an opinion, that the 
artist was more accustomed to water-colour paint- 
ing than oil. The view is extensive and varied ; 
but there is in it an absence of a main purpose, 
diminishing the value of the materials of the work. 

No. 124b. 4 Queen Katherine’s reception of the 
Cardinals,' H. Cook. The subject of this picture 
is found in the third act of 44 Henry VIII. ;" it 
is one to draw forth the powers of the most expe- 
rienced in Art. If the artist be young, as we 
apprehend he is, we congratulate him on the 
position he has already taken up. 

No. 1250. 4 Harold the Dauntless, Mitchell, 

and Gunna,’ R. R. M‘Ian. The figure of Harold, 
in this picture — 

“ A knight in plate and mail arrayed,” 
startles the spectator, at first sight, almost as much 
as did the weight of his iron hand the maiden 
whose glee he wished to hear continued. The com- 
position is brought forward by a firmness of man • j 
ner which we would gladly see more extensively 
followed ; and the feeling of the lines quoted from 
the poem is admirably sustained by its general 
management ; indeed, the work is impressed with 
all the romance of the poetry, much of which lies in 
the treatment of the female figures ; and the draw- 
ing of Harold is a fine example of foreshortened 
effect. 

No. 1260. 4 Nell and the Widow, Master Hum- 
phrey’s Clock,' Fanny M'Ian. This passage from 
Mr. Dickens’ work is illustrated in a manner fully 
worthy of his most pathetic descriptions. Nell 
and the widow are in the churchyard, the latter 
shaded by a sombre yew-tree, which imparts so- 
lemnity to the scene. A narrow examination of 
this picture elicits testimony of powers rarely seen 
in the productions of ladies ; indeed, in substantial 
handling, it is an example that many of our artists 
might follow, with benefit to themselves and plea- 
sure to their friends. 


THE ARTS IN CONTINENTAL STATES. 

ITALY. — Turin. — Prqfessor Rasori' s Works . 
— Our readers mav remember that we described 
last year a picture by Professor Rasori of Bologna 
and R.A. of Turin, the subject of which was the 
first meeting of Buondelmonte with the beautiful 
daughter of the Donati, the fatal source of the 
long wars of the Bianchi and Neri in Florence. 
At the exhibition of objects of the Fine Arts here 
on occasion of the marriage of the hereditary 
prince, Professor Rasori exhibited three new pic- 
tures, each consisting of a single figure with ac- 
cessories, but so full of character and expression 
that each is in itself a history. The subjects are, 

4 Peter the Hermit,’ 4 Marino Faliero, and the 
unhappy 4 Lisabetta di Messina,' as described in 
Boccacio’s tale. Peter the Hermit is painted as 
the chronicles describe him, not as he is idealized 
by Tasso, a robust indomitable old man ; and we 
see expressed in this picture the hi^h enthusiasm 
that made him believe himself the instrument to 
execute the will of God. Marino Faliero is also 
an old man, but the character essentially different. 
Here also is passion, hut deep and repressed, for 
the head of the Venetian republic was habitually 
accustomed to conceal what he felt ; but in the 
frowning brow and compressed lip, and the hand 
that seems unconsciously to crush the paper which 
contained the writing of Steno, we see the vin- 
dictive and indignant spirit of liim who was 
wounded both in nis affection and his pride. The 
unhappy Lisabetta is represented as a beautiful 


girl in the deepest grief, but which has not yet 
lasted long enough to destroy her loveliness. Her 
tears fall into an urn, that urn contains the bead 
of her lover, which she had secretly dug out of the 
pit where her brothers had buried after murder- 
ing him. Boccacio says she sat always near this 
urn and watered it with her tears ; there seemed 
all her thought, as if her Lorenzo were there. 
The Lisabetta of Rasori is indeed the Lisabetta of 
Boccacio, and we cannot praise it more highly. 

If the Professor Rasori continues to do aU his 
works with such care and taste, truth and con- 
ception, he well deserves the title not only of a 
great artist, but the name of 44 a philosopher 
painter." 

Venice. — Aqueduct. — M. G. Grimaud, author 
of an essay entitled 44 Essai sur les Eaux Pub- 
liques et sur leur Application aux Besoms dee 
Grandes Villes," has at last obtained the consent 
of Government to bring into Venice the water of 
the river Sile. The length of the aqueduct will be 
six leagues — four on terra firma, and two on the 
lagunes. It is a work worthy of the Roman 
times. The architect and engineer is G. Benve- 
nuti. The works will be conducted by Signor C. 
La pi to, known in France as having executed the 
fine canal of the Oise, and having completed the 
other at St. Maur, near Paris. 

FRANCE. — Paris. — Sculpture. *-The histori- 
cal commission, named by the committee of arts 
and monuments, has replaced in the absides of 
the church of Notre Dame de Paris, the statue of 
the Bishop Matiphas de Bussy, who died in 1304. 
This statue, of white marble, of the fourteenth 
century, had been concealed during the revolution 
in the crypts of Notre Dame, and its existence 
was made known by M. Gilbert, the keeper of 
the towers of the cathedral. Matiphas de Busty 
was the erector of the chapels of the absides. The 
historical commission contains, among other dis- 
tinguished names, that of M. Victor Hugo. 

Sculpture in the Louvre.— We have not earlier 
been able to make some observations on the works 
of sculpture exhibited this year, and we shall only 
mention a few of the more prominent ones, pre- 
mising that it is the general opinion that this fair 
and noble daughter of Greece was not richly re- 
presented in the past exhibition. One of the most 
important works was the 4 Statue of Henry IV.,' 
executed by M. Raggi, for the town of Pan, and 
he obtained permission to place it in the court of 
the Louvre, where it was seen to great advantage. 
The attitude is easy and noble, the head charac- 
teristic, and all the details of the dress and ar- 
mour are treated with care and talent. There are 
two excellent models of statues : that of 4 Dunois’ 
by M. Durcet, and 4 Charles of Apjou’ by M. 
Daumas. From the well-known powers of execu- 
tion possessed by both these artists, we do not 
doubt that, finished in marble, both these statues 
will be very fine. 4 La Place,' the mathematician, 
also a model, is an excellent work, by M. Gar- 
raud. There are many good busts — excellent 
both in execution and faithful as portraits ; among 
them may be named 4 Marshal Maison,' by Dan- 
tan; various busts by M. Elshost; 4 M. Alfred 
Vigny,' by M. Etex ; 4 Boissy d'Anglois,' by M. 
Husson ; and the fine busts, which are the pro- 
ductions of a young female artist, Mme. E. Du- 
bufe ; three of these are executed in marble, with 
great truth and expression. There are many reli- 
gious works : amongst these, five statues of 4 The 
Virgin Mary* — a most difficult subject, no tradi- 
tion nor type remaining to guide the artist. If 
our artists do not succeed in these representations, 
they may console themselves with the thought 
that Michael Angelo himself was not quite suc- 
cessful in his works on this subject. 

4 The Judith* of Mile. Faveau is the object of 
the most various opinions, some critics And that 
the moment is unhappily chosen, being that in 
which Judith fixes the head of Holofernes on a 
pike to show it to the people ; a painful and some- 
what revolting act in the detail, and that the 
frowning brows of 4 the Judith* of Mile. Faveau 
have an expression of excited anger, which does 
not belong to the calm and high-minded widow of 
Bethulia. Others find the attitude, expression, 
and style of the work, all admirable, and that the 
small fingers of Mile. Faveau have more power 
to animate marble than the strong hands of all the 
other sculptors — both parties agree in allowing 
great merit to the execution of this work, which is 


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called a bas relief, bat in fact the figure of Judith 
advances from the balcony. It is fifteen years 
since M. Ary Scheffer finished the portrait of 
Mile. Faveau ; it is a charming picture ; the lively 
and delicate features yet bear the expression of a 
determined will and powerful imagination; such 
qualities as have produced in Mile. Faveau a singu- 
lar devotedness to the art she selected, and which 
she has studied with unwearied perseverance during 
fifteen years of voluntary exile in Italy since that 
portrait was painted. 

• The Psyche and Sleeping Love,’ of M. Triquetti 
is a graceful and charming work. 4 The Neapoli- 
tan Woman Teaching her Child to Pray/ is a 
natural and pleasing composition by M. Hussan. 

4 The Awakening of the Soul/ allegorized as 4 a 
Woman employed in Catching a Butterfly/ by 
M. Legendre Herald, appears to us also a good 
work, and there are others worthy of observation ; 
still, as a whole, the exhibition is less strong than 
usual : we believe, in part, because several of the 
best sculptors have not contributed, being other- 
wise occupied. 

BEAUFORT (Maine et Loire), May 23rd. 
— Statue of Jeanne de Laval .— Yesterday took 
place, with great solemnity, the inauguration of the 
statue of 4 Jeanne de Laval/ Countess of Beau- 
fort, and wife of Ren£, Duke of Anjou and King of 
Naples and Provence. From five in the morning 
the roads of Angers, Saumur, Bauge, &c., were 
covered with carriages of every description, horses, 
and pedestrians ; the number of carts filled by ! 
working people was very great. We need not 
trouble our readers with the description of the 
procession, which was magnificent, nor the speeches 
made on the occasion. 4 Jeanne de Laval/ after 
the death of her husbind in 1430, devoted herself 
to charitable works ; she founded a church, schools, 
hospitals, and infirmaries. She was the benefac- 
tress of the country on a most munificent scale, and 
in a most liberal spirit. Her school attached to 
the hospital 44 for very young children’' may almost 
be regarded as the first infant school. The statue 
now erected to her honour is by M. Fragonard, a 
sculptor of distinguished talent. We admire the 
noble and graceful attitude of the statue : the dress 
is not strictly in the costume of the times, the 
mantle only is quite correctly so ; the execution is 
vigorous, one fault only we find, the face has a 
severe and strong expression, which does not ac- 
cord with the character of Jeanne universally given 
in the Chronicles. The statue is of bronze ; it is 

E laced on a pillar, whose fine proportions do great 
onour to the architect, M. Launay Pieau. The 
pedestal contains a fountain, always a great diffi- 
culty for an architect, from the necessity of en- 
larging the pedestal : but it is admirably managed 
by M. Launay Pieau without destroying the 
symmetry. 

Honour t to Artists. — The King of France has 
presented a gold medal to M. Jules Varnier, on 
account of his brilliant picture of the 4 Martyr- 
dom of St. Sebastian/ exhibited at the Louvre 
this year. 

Many promotions have taken place in the royal 
order of the Legion of Honour ; their object is to 
reward the artists whose works were most dis- 
tinguished at the last exhibition. M. Triquetti, 
the sculptor; M. Perrot, the landscape painter; 
M. Hesse, historical painter ; M. Simeon Fort, 
and M. Gigoux, are amongst those named as pro- 
moted. 

M. Meyer, marine painter, has received a gold 
medal from the king for his 4 Fishermen on the 
Coast of Normandy/ and his 4 Burning of the 
India/ 

M. Louis Bauderon, author of various portraits 
exhibited this year, has received the same reward. 

The Pope has named M. Raoul Rochette, secre- 
tary of our academy, a knight of the order of 
Constantine. 

SWITZERLAND. — Geneva. — Messrs. Ca- 
lame and Diday, the two most distinguished 
painters of this city, have been received in the 
most flattering manner by the King of the French, 
who has presented them both with the Cross of 
the Legion of Honour, on account of the pictures 
they have this year exhibited in the Gallery of the 
Louvre. 

GERMANY.— Prussia— Berlin.— The state 
Gazette contains a royal command for the estab- 
lishment of a new order of merit for the sciences 
and arts. Annexed are the regulations for the 


foundation of the order. We shall content our- 
selves with naming some of the knights — the 
number of German knights is limited to thirty. 
Messrs. Metternich, de Savigny, de Humboldt, 
Gans, de Schell ing, de Schlegel, Schoemlin, Tiek, 
Cornelius, Lessing, Meyerbeer, Schadow, Arago, 
Chateaubriand, Gay Lussac, Listz, Rassun, Thor- 
waldsen, Horace Vemet, Ingres, Letronne, Da- 
guerre, Fontaine, MendlessohnBartholdy, Thomas 
Moore, John Herschel. 

Cologne.— Antiquities.— In digging under the 
foundations of a house adjoining the cathedral, in 
preparation for the works there, there was found 
twenty feet under ground, a part of the shaft of a 
fluted column, apparently of Roman workmanship, 
of a whitish hard stone, not belonging to this 
country. 

The exhibitions of works of Art, at Prague, 
Berlin, Frankfort, and other towns in Germany, 
have taken place, all exciting much interest, and 
giving proofs of progress ; but we do not give a 
fist of works and artists at present, as we could 
only give a catalogue, which is neither interesting 
nor profitable. 

GREECE. — Nauplia, — Oberst Touret, a 
French Philhellene who has resided sixteen years 
in Greece, has undertaken, under the King’s 
auspices, to erect a monument in memory of the 
Philhellenes who fell fighting in Greece. 

AFRICA. — Algiers. — Antiquities . — General 
Bugeaud in his last campaign has discovered many 
Roman antiquities. Near Aia Tuka a beautiful 
ancient well nas been cleared out ; beside it were 
found many lamps, urns, &c. Shaw considers the 
Via ftolemais to have passed by this place. 

RUSSIA. — St. Petersburgh. — 4 Isaac's 
Church .’ — The exterior of the Isaac’s Church is 
nearly finished. The cupola is complete, except 
some bronze which will be finished in the course 
of the summer. Until the scaffolding is taken 
down, the beauty of the building cannot be appre- 
ciated. The height is so great that it commands 
a circumference of six miles, and the golden 1 
cupola appears from Cronstadt like a true beacon- | 
light for mariners. Nothing can be more striking 
than the light of the setting sun reflected on the 
cupola and the walls ; and by starlight the cupola 
is still bright, especially the higher part of the 
cross. The marble walls of the four bell towers 
are nearly finished, and will be so in July. The 
sculpture and castings for the great front are 
nearly completed. His Majesty the Emperor has 
commanded that the metal doors, the design for 
which is chosen, shall be executed by Professor 
Jacobi, and that he shall use in their construction 
his new invention of Galvanoplastic. The doors 
are to be of very rich workmanship, and their 
height is fifty-six feet. The building has been ex- 
amined by the commission appointed for the pur- 
pose, who have pronounced it of extraordinarily 
solid workmanship, and in every respect executed 
according to the orders given. 

Painting in Russia.— vie regret to say that the 
journal devoted to the Fine Arts which was com- 
menced in 1836, and continued, with only a short 
interruption in 1840, until now, has this year 
ceased to be published from want of sufficient 
encouragement. It is the more to be regretted 
because the flourishing state of the Arts in Russia 
at the present time seems peculiarly to call for 
such a publication. The last number contains an 
interesting sketch of the progress of painting in 
Russia, dividing the subject into three periods. 
From the latter part we extract a few sentences, 
adding some particulars from another source. In 
the earlier half of this period, our best artists 
came from foreign countries and bore foreign 
names ; but many settled amongst us, and we ao 
not separate these from the family of Russian 
artists. Many good works remain, the fruit of 
the labours of those painters, some of whom were 
the teachers of academies. Some native painters 
also belong to this period : amongst these Lossen- 
koff, regarded as the founder of the Russian 
school of painting ; he entered the academy as a 
student in 1759, and became professor in 1773. 

A large picture by him, with a great number of 
figures, is in the Imperial Gallery at the Her- 
mitage ; the subject is the 4 Miraculous Draught 
of Fishes.* In the reigns of the Emperors Paul 
and Alexander, painting advanced rapidly. Be- 
longing to this period are Chebouieff, who still 
lives, and is now rector of the Imperial Academy 


in St. Petersburg, Vorobieff, Schedrine, Warnet, 
and others. Vorobieff excels in interiors; four 
pictures by him are in the gallery of the Hermitage 
of that class. There are also there pictures by 
Chebouieff and Schedrine, &c. Of this race of 
painters many are dead, but some, still living and 
continuing their labours, see another generation of 
artists around them, all of the Russian school. 
The two professors of the Imperial Academy, 
Bruni and Bassyne, Tyranoff, Metier, Lebedieff, 
the brothers Cernekoff, and many others, are able 
painters. Specimens of the works of the greater 
number are to be seen in the Hermitage. Of 
Bruloff we do not speak ; his genius belongs not 
only to Russia but to the history of painting; in 
Enrope. Many young artists are also rising into 
eminence — Stupin, Alexieff, the students of the 
Academy of Painting in Arsamas, and the newly 
organized school in Moscow. Of the enterprising 
brothers Cernekoff we shall be able to give here- 
after some account. 

Imperial Gallery . — Two magnificent pictures 
are just now purchased for this gallery at Bologna. 
One is the celebrated 4 Madonna’ of Guercino, from 
the Marquis Tanari ; the other, a 4 Holy Family’ 
by Giacomo Francia, son of Francisco, from Prince 
Ercolani. Very large prices were given for both. 


METROPOLITAN IMPROVEMENTS. 

A most important step, with a view to the improve- 
ment of the metropolis, has just now been taken, 
and cannot but lead to useful results. On the 15th 
of June a deputation, comprising Lord Robert 
Grosvenor, Sir Charles Lemon, Bart., Mr. Gaily 
Knight, M.P., Mr. Wyse, M.P., Mr. H. T. 
Hope, Hon. Mr. Elphinstone, M.P., Col. Sykes, 
V.P., F.R.S., Mr.W.E. Hickson, Mr. T. L. 
Donaldson, Mr. Mills, Mr. Fowler, Mr. George 
Godwin, jun. F.R.S., Mr. J. Martin, K.L., Dr. 
South wood Smith, and several other gentlemen 
interested in the subject, had an interview with Sir 
Robert Peel, in Downing-street. The chief object 
of the deputation was to induce the Premier to 
turn his attention to an inquiry into the measures 
which government ought to originate for the im- 
proved health, comfort, and convenience of the 
metropolis ; instead of leaving the matter wholly 
in the hands of private speculators and sectional 
interests, as is now the case. The immediate 
steps suggested to him were, to obtain an Ordnance 
survey and map of London, on the same scale 
with that of Dublin, lately executed (five feet to 
the mile) ; and a report from men of the first 
ability in the country, on what could be, and ought 
to be done in London, considered as a whole, 
within the next 10 or 15 years. Sir R. Peel, with 
whom was Lord Lincoln, head of the Woods and 
Forests, assured the deputation of his entire 
concurrence with their views, and expressed his 
intention, forthwith, to comply with their requests, 
and not to allow expense to stand in the way of 
inquiry. The deputation pointed out a variety of 
imperfections in the plans proposed to be carried 
out, in the extension ot Coventry-street to 
Long-acre, the new street from Bow-street to 
Holbora, and the new street from Oxford-street 
to Holborn, all of which were caused by the bit-by- 
bit system of improvement at present pursued. 
Lord Lincoln promised to use efforts to remedy 
the evils complained of, but feared the arrange- 
ments were too far completed to admit of altera- 
tion. We trust speedily to be able to announce 
the names of the gentlemen to whom the very im- 
portant duty of preparing the report alluded to 
will be confided, and shall then return to the sub- 
ject, and submit a variety of suggestions for their 
consideration. A general meeting of the committee 
was held on the 23rd, Mr. W. Tite in the chair, and 
it was resolved that petitions to the Lords and 
Commons, pointing outa variety of crying evils and 
calling for the genecal report above alluded to, 
should be forthwith prepared for signatures, in 
order to strengthen Sir Robert Peel’s hands. 


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SIR JOSHUA REYNOLDS.* 

The fame of Reynolds has long conferred a proud 
and honourable distinction upon his country. 
Bom at Plympton in 1763, of respectable though 
humble parentage, he owed his subsequent eleva- 
tion less to those efforts of genius which take pos- 
session of the mind as by a kind of violence, than 
to an enlarged observation of nature ; a deep in- 
sight into character, a disposition assiduous, de- 
termined, and united to a zeal which ever proposed 
the highest honours of his profession for his reward. 
There was always in his mind a contest between 
the spiritual conceptions of the past, and the dull 
materialism of his age ; he studied, he reflected, he 
discoursed upon the greatness of M. Angelo and 
Raffaelle — the great style was ever on his bps ; the 
glories of its masters would not suffer him to sleep 
— yet he subsided into a sphere immeasurably 
humbler, yet great, by its technical power and con- 
ceptive spirit. This arose from the influence that 
things necessary must invariably possess over things 
chosen ; he appealed to an age which had suffered 
Wilson to starve, and during which the fluctuation 
of taste was so great, that the widow of Hogarth 
outlived the interest felt in her husband’s works, 
and was reduced to want, until the interposition of 
the King secured her an annuity of forty pounds, 
from the Royal Academy he had founded. The 
quick sensibility of Wilson was worn unto dejec- 
tion by the success of the miserable Barret ; and 
even Sir Joshua might have sunk before the influ- 
ence which encouraged Liotard, had not his calm, 
patient, unsubdued spirit, his love of Art, and 
energy in its pursuit, combined with his inherent 
powers, Anally mastered the indifference of his con- 
temporaries, and secured him the consideration of 
one “ who was the first Englishman who added the 
praise of the elegant Arts to the other glories of his 
country.” In the estimation of his character these 
facts should be considered ; for if he praised works 
which he did not evince the ambition to rival ; if 
there were no struggle to approach the greatness 
of M. Angelo, or the might of Raflaelle; it was not 
that the desire was a false fever of the mind, the 
hectic ambition of the student, but the conviction 
felt by him through life — that when genius cannot 
impart its own elevation to the age, it has still a 
high destiny in the attempt to direct the predo- 
minant thought and tendency to greatness. Rey- 
nolds succeeded to the honours of Vandyck. He 
gave to portrait, — truth, character, expression ; to 
attitude, — grace and natural ease ; he was forcible, 
et chastened; free, yet submissive to rules. He 

the child’s growth was succeeded by the giant’s 
strength, he became more bold and more diver- 
sified, and his fame increased with his ambition. 
He aimed at elevation and refinement ; and con- 
cealed by this direction his defects ; his portraits 
suppressed the naked nothingness of Kneller, the 
courtly meretriciousness of Lely; they were in- 
stinct with life, chaste in composition, and ceased 
to reflect the depravity of a court, or the depressing 
influence of uneducated opinion. We must now 
consider him less as the artist than the writer on 
Art. His Discourses have long delighted the edu- 
cated, and improved the student ; they were de- 
livered at the annual distribution of prizes, in the 
belief that something should then be said to ani- 
mate and guide attempt, to direct assiduity, and to 
impart those general rules, which observation 
teaches, philosophy enlarges, and experience has 
confirmed. To these much objection has been 
raised ; they have been declared illogical, contra- 
dictory, inconclusive; the contributions of John- 
son, Mudge, and Burke, blended with his own 
theories and technical experience. It is easy to 
condemn ; the authorship, however affiliated, is his 
own. There will be ever a class of men ready to 
assert — 

“ Most authors steal their works, or buy ; 

Garth did not write his own dispensary;” 

and the difficulty of reconciling many of his con- 
clusions is overcome, if we reflect, that while he 
felt the existence of genius, he knew the necessity 
of study ; that to him the observation of nature 
was the law, industry the prophet, of success. On 
Compositions so well known it is unnecessary further 

* The Discourses of Sir Joshua Reynolds, illus- 
trated by explanatory notes and plates, by John Burnet, 
F.R.S. London, Carpenter, 4to., 1842. 


to enlarge ; therefore we shall consider them chiefly 
with reference to the notes appended by Mr. Bur- 
net, feeling assured that the attention of our 
readers will be amply repaid by their perusal. 
When Oxenstiem parted from his son, he is re- 
ported to have said, “ Go, my son, into the world, 
and see with what little wisdom it is governed.” 
In a similar spirit, as regards Art, we might add, 

“ Go, young student, into an exhibition, and see 
with what little consideration, by what actual beg- 
gary of thought, many pictures are painted.” It 
is at intervals as if chaos were transformed into 
colour. A few hours snatched from the pleasures 
of the day, a month of idleness, a week of occupa- 
tion, the hurried crude idea, rapidly sketched in, 
or Art forced by its brilliant trickery of artificial 
contrast, and masterly power of execution to con- 
ceal the vapid imagination which lurks beneath; 
such are the indications of the minds of many, at I 
once of the highest genius, and the meanest pre- j 
tensions 

“ Thus bards in Bedlam, long in vain tied down. 
Escape in monsters to amaze the town.” 

But it is said — do not fetter genius ; do not limit 
these early emanations. It is facility of compo- 
sition. 44 A facility of composing, says Mr. 
Burnet, (page 12), 44 is the ruin of everything 
excellent; and accordingly we perceive at all times,, 
as the Art declined, that mediocre painters were 
the most dexterous — expert at gratifying the eye : 


and Art in its multiplied variety confirms. The 
much-debated question, of the existence of taste as 
a distinct faculty of the mind, and which— 

“ Is, though no science, fairly worth the seven ;” 

has been thus considered by Mr. Burnet, with re- 
ference to Sir Joshua’s conviction of the reality of 
a standard, by which the mind may be guided in 
its decisions. 44 Taste, however nearly allied to 
genius, seems, hy general consent, to be a quality 
totally distinct. Genius implies a creative and in- 
ventive power, which is the highest effort of tbs 
understanding : taste is more properly the art of 
selecting and guiding the efforts of genius, and is 
the offspring of a sensitive and delicate mind ; for 
though capable of high cultivation, it is originally 
a part of tne physical constitution,” Ac., Ac. To 
us it appears that taste is originally the intuitive 
perception of the beautiful, in whatever form it 
exists : in the modulation of sound ; the justness, 
simplicity, and congruity of ideas ; the force, pre- 
cision, and harmony of their expression ; in the 
varied attributes and majesty of nature, in the 
storm and conflict of the elements ; and the spiritual 
peace which hallows their repose. Cultivated 
and exercised it becomes judgment, for it supposes 
principles, draws consequences, and derides; it 
is the harmony of the mind and reason, and 
we have more or less taste as this latter quality 
exists. Of any abiding accurate standard we are 
doubtful ; taste is the criticism of imaginative ex- 


we look in vain in their works for a happy union of cellence, and this must vary, as a rule, more or less 


skill and thought ; such specious performances cap- by the progress of human cultivation. We must 
tivate the ignorant, whose praises confirm the artist now direct the reader’s attention to the Eighth Dis- 
in his vicious habit, and when just criticism removes course, upon the effect which we observe in the 
the deception, he in vain endeavours to deprive his works of the Venetian painters. 44 It ought, in my 
works of a meretricious character, by clothing opinion (Reynolds, page 154), to be indispensably 
them with the efforts of study : deprived of their observed, that the masses of light in a picture be 
dexterity and fascinating charm of handling, they always of a wann mellow colour— yellow, red, or 

become heavy and insipid a yellowish- white; and that the blue, the grey, or 

The emanations of thought succeed best alone ; the green colours be kept almost entirely out of 
and until a design is considered well in all its va- these masses, and be used only to support and set 
rious departments, the hand should be withheld off these warm colours, and for this purpose a small 
from committing it to canvass ; for the first sketch proportion of cold colours will De sufficient, 
often influences, in a great degree, all those that Upon which Mr. Burnet remarks, and we select 
follow.” No opposition can be raised to the cor- but a portion of a long note, — 44 As I have differed 
rectness of these opinions, we apprehend, except from Reynolds on this subject, and explained my 
amongst those who aesire to see the canvass merely reasons at large in a former work, viz., 4 Practical 
a bright contrast to the more varied display of the Hints on Colour,’ I shall refer the reader to what 
palette. When the eminent painters of the past I have already said, and here only avail myself of 
44 conceived a subject, they first made a variety of setting the matter in a stronger light, more espe- 
sketches ; then a finished drawing of the whole ; cially as it is a point on which there are many con- 
after that a more correct drawing of every separate fiicting opinions. The late Sir Thomas Lawrence, 
part — heads, hands, feet, and pieces of drapery ; in a Tetter to me, says, 4 Agreeing with you m 
they then painted the picture, and after all, re- so many points, I still venture to differ from 
touched it from the life. The pictures thus wrought you in your question with Sir Joshua. Infinitely 
with such pains, now appear like the effect of en- various as nature is, there are still two or three 
chantment, and as if some mighty genius had struck truths that limit her variety, or rather that limit 
them off at a blow.” (Discourses, page 14.) In Art in the imitation of her : I shall instance for ooe 
the opinions expressed upon many of those by the ascendancy of white objects, which can never 
whom pictures are 44 taken in, cleaned t and done be departed from with impunity; and again, the 
for,” to adopt the phraseology most suited to the union of colour with light. Masterly as the ex- 
practice, we cordially agree ; — a picture repaired is ecution of that picture is (viz., the 4 Boy in a Bine 
most frequently a picture flayed — Marsyas without Dress’), I always feel a never -changing impression 
his skin. 44 As a judgment on Sir Joshua, no works in my eye, that the Blue Boy of Gainsborough is a 


The emanations of thought succeed best alone; 
and until a design is considered well in all its va- 
rious departments, the hand should be withheld 
from committing it to canvass ; for the first sketch 
often influences, in a great degree, all those that 
follow.” No opposition can be raised to the cor- 
rectness of these opinions, we apprehend, except 
amongst those who aesire to see the canvass merely 
a bright contrast to the more varied display of the 
palette. When the eminent painters of the past 
44 conceived a subject, they first made a variety of 
sketches ; then a finished drawing of the whole ; 
after that a more correct drawing of every separate 
part — heads, hands, feet, and pieces of drapery ; 
they then painted the picture, and after all, re- 
touched it from the life. The pictures thus wrought 
with such pains, now appear like the effect of en- 
chantment, and as if some mighty genius had struck 
them off at a blow.” (Discourses, page 14.) In 
the opinions expressed upon many of those by 
whom pictures are 44 taken in, cleaned, and done 
for,” to adopt the phraseology most suited to the 
practice, we cordially agree ; — a picture repaired is 
most frequently a picture flayed — Marsyas without 
his skin. 44 As a judgment on Sir Joshua, no works 


have suffered more in this respect than his own, difficulty boldly combated, not conquered. . • 
many of which are cleaned down — to the prepara Opposed to Sir Thomas s opinion I 

.. % .. . . ... r r i • i . It . .r o* tv u 


tion for glazing ; and when pointed out as examples might quote that of Sir David Wilkie, oftenex- 
of this destructive course, it is impudently asserted pressed, and carried out in his picture of the 4 Cbri- 
that his colours have fled ;” fled ! yes, doubtless, sea Pensioners ;* indeed, one of the sketches which 
to escape the persecution of the spirits employed that lamented artist made in Spain, after Titian s 
against them. But we pass from these, — 4 Apotheosis of Charles V. ;’ for there the pnn- 

.. _ . M . . . . cipal light is composed of pure white and celestial 

bfoe, surroundeTby yellow and grey, while the 
Nutnt, et urticc proxima sspe rosa est , fibres which form the base of the picture are glazed 

and proceeding to higher points, we would particu- with the richest brown and warm tones. I n fact , 

larlv recommend the reader to the notes 44 on the mostpainters of landscape, from Titian to the preient 
mooes that exist ofbringing our own compositions in day, rub in their shadows with rich brown, which 
contact with those of the great masters; ” “upon the they preserve transparent to the last, introducing 
higher branches of Art, (p. 28) ; 44 and on the ne- the cool and opaque colours into the lights and half 


cessity of study and labour, to give strength and di- 
rection to the efforts of genius.” Let those who 
press forward to claim with eagerness the rewards of 
tame, remember, that though much will be con- 
ceded to greatness of talent, but little is refused to 
study and assiduity ; and that if these alone do not 
form an artist, without them genius is but a me- 
teoric exhalation, wandering, uncertain, or dissi- 
pated by variety of pursuit. In these opinions we 
are strengthened, not alone by the observations of 
those who have made the characteristics of genius 
the subject of moral and of metaphysical investi- 
gation, but by facts which the daily observation 
of life educes, and which the history of literature 


tones.” We should gladly transfer to our pages 
the remainder of this note did our limits permit, 
but we are anxious to present to our readers as 
varied a selection of the matters discustedas may 
be in our power ; we must, therefore, consider the 
remarks appended to the Tenth Discourse on Sculp- 
ture. After some observations, in which we coin- 
cide. upon Sir Joshua’s opinion, 44 the familiarity 
of the modern dress by no means agrees with the 
dignity and gravity of sculpture,” instances of which 
exist in the statue of the Duke of Cumberland in 
Cavendish -square, and, to quote Mr. Burnet, 44 in 
the pig-tailea Monarch of Wyatt,” 44 et parvis com- 
ponere magna,” in a work at least refemble to tbs 


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1842 .] 


THE ART-UNION 


165 


same class, if we may quote it, the elevation in 
honour of George IV. at King's-cross : — 

— — 14 cui turpe caput, cui plurima cervix 

Kt fariem tauro proprior.” 

Mr. Burnet gives a very able note, and concludes 
his annotations with the following remarks, which 
our readers will peruse with interest, being the 
opinions of an able and accurate writer upon the 
works of Sir Francis Chantrey. — 44 True sculpture, 
being but a true representation of beautiful nature, 
affords less scope for criticism than painting, which 
owes its excellence to a combination of Yanous ad- 
juncts. All dressed sculpture must therefore be a 
deterioration, as it cannot give harmony of colour 
as a compensation; and all sculpture must be faulty 
whose boundary line, taken in mass, is not agree- 
able, as it wants the assistance of back-ground, in 

which defective form may be lost 

• • . . . . . Perhaps in bust-sculpture a 
greater union with pictorial effect is allowable; and 
as we have lately lost one of the greatest geniuses 
in this department, I shall notice his excellencies 
in a few words, for though many dispute the supe- 
riority of the entire figures of Sir F. Chantrey, none 
who are capable of judging refuse joining in the 
universal approbation given to his busts. Begin- 
ning life as a painter, he seems to have carried 
what knowledge he derived from painting portraits 
into the treatment of his heads in scmpture, as 
they possess more pictorial effect than any by his 
predecessors. Those of Roubiliac, which Chantrey 
praised highly, are deficient in many qualities 
which Chantrey 's exhibit ; and in drawing a paral- 
lel between them with reference to painting, we 
should say that Roubiliac's, though giving the 
finish and delicacy of drawing observable in the 
pictures of Vandyck, convey a hardness such as we 
perceive in the ivory-like flesh of Vanderwerf; 
whilst the hair is defective from being too much in 
quantity, which was the fashion of the period, and 
also from its being too much disturbed and cut 
into, which destroys the effect of the features. In 
the works of Vandyck this is not the case; it not 
only serves as the frame-work to the countenance, 
but harmonizes and combines with the features, by 
enriching and extending their form, thereby giving 
dignity, and that beauty which arises from picto- 
rial arrangement. The busts of Chantrey, on the 
contrary seem to possess all the suppleness of 
flesh, and while they seem blocked out with the 
massive breadth of the heads of Raeburn, have 
all the effect and character of the portraits of Rey- 
nolds The 

texture and artistical skill in what is termed 
handling, — the delicate and elaborate finish in 
some portions, the breadth and soft character in 
others, will, however, always secure a reputation 
to the busts of Chantrey, as long as sufficient taste 
remains in the country to admire the portraits of 
Reynolds." 

We must here conclude our extracts; we have 
perused Mr. Burnet's notes with great pleasure; 
be is a writer of an enlarged experience, of great 
earnestness of feeling, and of much picturesque 
power of detail. His descriptions or the effect 
of colour are in themselves pictures, the com- 
positions of a mind saturated with the percep- 
tion of the beautiful; and in this respect his 
style, always clear, ever thoughtful and reflec- 
tive, becomes warm, eloquent, and glowing. He 
relieves the dryness of technical detail by his accu- 
rate knowledge and its just expression; what is 
known becomes enhanced in value, what is new is 
imparted with a free and graceful simplicity of 
thought. The eye ministers to the mind, but the 
mind must discipline its impressions, if we would 
estimate the charms of Nature, or judge with sensi- 
bility and knowledge the imitations of Art. A re- 
fined taste can be acquired only by observation, 
experience, and reflection ; but as with many the 
power of observation must be limited, and reflec- 
tion unexercised, works such as we owe to Mr. 
Burnet, and notes such as he has appended to 
these volumes, must ever be of great value to 
those to whom the love of Art is a refined feeling, and 
aesthetic criticism, intellectual pleasure. We trust 
this edition of the Discourses will be appreciated 
as it deserves ; there is an increasing love of the 
Fine Arts observable in the land, but unless directed 
by high considerations and accurate principles, 
its tendency will be. to increase bad taste, nourish 
the propensity towards mere technical excellence, 
and engender mediocrity. Of the Discourses we 


have already spoken ; they are singularly indicative 
of the author’s mind: his education in early life was 
neglected, and at a later period knowledge was de- 
rived from conversation. His principles of Art 
are sound ; they rest no less on moral excellence, 
than upon assiduous study; the style is clear, 
seldom elevated, but expressive ; there is at times 
a faint recollection of tne rich fluidity of Burke 
and the laboured structure; the ornate colouring 
and solemn antithesis of the 14 Rambler." His 
temper -was even and sedate, manners graceful 
and alluring, his disposition amiable ana kind ; 
even the peevishness of his resignation of the 
President’s office was allied with a kind act. He 
suffered more in this respect by the poetry of 
the Earl of Carlisle, and tne puerilities of Jem- 
ingham, than by the opinion of the time. Of 
late years a love of censure has been evinced 
towards his fame; yet time will ratify what opinion 
still confirms, he was a 44 Great Artist and a 
Good Man." 


PUBLIC WORKS IN PROGRESS. 

The Gallery of distinguished Etonians has re- 
ceived a valuable addition, in the bust of Lord 
North, presented by Lord Guildford, and executed 
by Mr. Behnes. The work fully sustains the repu- 
tation of this sculptor for his posthumous por- 
traiture. It is finished with the nicest skill, and 
draped in the robes of the Chancellor. The fea- 
tures are full and expressive, and cannot be seen 
without immediately reminding the spectator of 
those of George the Third ; for so strong is the 
resemblance that many worse likenesses of that 
monarch are extant. A bust of the Duke of New- 
castle, intended also for Eton, is in progress by 
the same artist, and is almost a living identity of 
the noble original. The latter work is presented 
by a subscription from Eton. 

Mr. Bailey, R.A., has nearly completed the 
model of a statue of the late Dean Dawson, to be 
erected in St. Patrick's, Dublin. The figure is 
seated in a posture of meditation, the head resting 
on the right hand. It is somewhat beyond the 
life size, and bears in general treatment a strong 
relation to the life and habits of the subject. 
Another important work upon which this gentle- 
man is engaged is a sedentary statue of the late 
Dean of Ely, for St. John’s,- Cambridge. Like 
the preceding, it is in course of being modelled, but 
not so far advanced. The features of the original 
seem to have been thrown together by nature, 
without much regard to the beautiful, but the en- 
tire head would demonstrate very strong character 
of some kind. 

The National Gallery.— The Earl of Lin- 
coln, in answer to a question on this subject, put 
in the House of Commons, said, that the steps 
and terrace in front of the National Gallery were 
nearly completed, and might be opened at any 
time; but lie thought that the convenience of the 
public would be observed by their not being 
opened, until more progress had been made in the 
works of the Nelson Monument. 

The Nelson Monument. — The stone for the 
statue, intended to surmount the column, is ar- 
rived from the Granton quarry, and much as it 
will suffer reduction in carving, it is yet to be 
feared that the shaft may be unequal to the sup- 
port of the enormous weight of the statue, which 
cannot well be less than twenty tons. Sir Robert 
Peel, in reference to the progress of the monument, 
expressed in the House of Commons a hope that 
those concerned in the management would seri- 
ously consider the responsibility they were under- 
taking, and ascertain what amount of funds were 
either already provided, or engaged to be provided 
and subscribed, and their proportion to what 
would be the actual cost of the monument. This 
was an important consideration, and one which 
he hoped would be duly weighed by those con- 
cerned. 

Statue of the Marquis of Wellesley.— 
We announced some time ago a resolution of the 
board of directors of the East India Company, 
determining the execution of a statue of the Mar- 
quis of Wellesley, to be placed in the board-room 
of the India House. This work has been confided 
to Mr. Weekes, who, in the first sketch for the 
statue, has properly taken for his epoch that 
period of the life of the Marquis, at which he was 
Governor- General of India. 


VARIETIES. 

Additions to the Knighthood. — Her Ma- 
jesty has been graciously pleased to confer the 
honour of knighthood on George Hayter, Esq., 
W. C. Ross, Esq., A.R.A., and William Allen, 
Esq., R. A.; distinctions which have been the 
subject of much comment pro and con; but which 
have undoubtedly been bestowed with a feeling 
that, although all these gentlemen do not take the 
first rank among our artists, yet their various 
positions were worthy of the honour. 

Drawings dy Raffaellb. — The Lawrence 
Collection of Drawings, by the divine master, are 
at last secured for the University of Oxford. We 
stated some time ago that the price asked for them 
was £10,000, and that a subscription had been 
entered into to raise this sum if possible. Lord 
Eldon munificently offered £3000 in the event 
of the remainder being obtained. Only £3000, 
however, could be raised, and it seemed probable 
that the treaty would go off, when the proprietor 
of the drawings was induced to alter his price to 
£7000. Lord Eldon immediately increased his 
subscription from £3000 to £4000, and the busi- 
ness was done. All honour be to his lordship ! 

Cologne Cathedral. — At a recent meeting 
of the Royal Institute of Architects, Mr. George 
Godwin laid before the members some particulars 
of the recent restoration of the choir of the cathe- 
dral of Cologne, and of the efforts now being made 
in Germany, Rome, and France, to ensure the 
completion of the building, according to the inten- 
tion of the original architect. The restoration and 
adornment of the choir were commenced in 1829, 
and are but just completed ; the expense has been 
about £40,000. Beneath the whitewash, with which 
the interior of the choir was covered, they dis- 
covered paintings that had originally adorned it, 
and in which the colours were applied with sin- 
gular sobriety and judgment. All the ribs and 
columns have been re-covered with a yellowish 
plaster to disguise the cold tint of the stone, the 
joints of the masonry being, nevertheless, . left 
visible. The smooth surfaces of the roof are painted 
in imitation of fibre de Tuf, the ribs are of a 
darker tint, ana are separated by red bands or 
fillets. The ornaments of the key stones, the ca- 
pital, and other sculptured portions arc gilt with a 
backing of bright red colour. Angels are painted 
in the heads of the pointed arches above the tri- 
forium. In the cloisters are paintings of figures on 
a gold ground, and on a blue ground powdered with 
stars. In the choir are fourteen colossal statues, 
which have been re-painted, and are described as 
models of monumental sculpture, and polychro- 
matic decoration. The whole of this extraordinary 
assemblage of architecture, sculpture and painting, 
is rendered harmonious by a senes of stained glass 
windows of the 14th century. 

Amateur Artists' Conversazioni.— On the 
evening of May 11th was held at the rooms of 
Edmund Antrobus, Esq., the President of the 
Amateur Artists' Society, the last of the season 
series of these most agreeable conversazioni. This 
Society, already distinguished by their extreme 
liberality and brilliant assemblies, do themselves 
additional honour by the periodical invitation of 
lady artists and amateuses, some of whom contri- 
bute works of much excellence to the exhibitions. 
The members have not been long thus associated, 
but the spirit with which the whole is directed, and 
the evident desire of securing harmony and good 
feeling at all hands, are a fair earnest of the ulti- 
mate success of the main object of the Society, viz. 
a promotion of taste for fine Art. It cannot be 
doubted that the cultivation of amateur taste must 
be a benefit to the artist; for, however well an 
amateur may paint, he is never satisfied with his 
own productions, but looks to the profession for 
the gratification of his taste. If, therefore, paint- 
ing or a genuine relish for works of Art be propa- 
gated as a social accomplishment, the artist has 
much to be grateful for to those who disinter- 
estedly take up his cause : thus on the occasions of 
these delectable totr/ee the artist and amateur meet 
on terms of reciprocal advantage. Among the 
crowd that thronged the rooms were some mem- 
bers of the Royal Academy, and other artists of 
distinction ; and the exhibition was enriched 
by works to which are attached the names of Col- 
lins, R. A„ Roberts, R. A., Cattermole, &c. 
Among the water-colour works were some groups 


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166 THE ART-UNION. 

of flowers, painted by Miss Jane Burgess in a 
manner promising the highest excellence in this 
department of Art ; nothing could exceed the reality 
and beauty of these paintings, which belong to a 
style not sufficiently appreciated because so little 
understood. In the course of the evening a paper 
was read “On thepresent stateof Taste inEngland/’ 
wherein occurred observations, to the effect that 
amateurs generally are too well satisfied with only 
reading about Art, believing that the mere study of 
Reynolds’s lectures will Qualify them for sound 
criticism — that the practised artist, even after years 
of labour and study, experiences, at times, a diffi- 
dence unfelt by another less cognizant of the real 
beauties of Art. 

The Tower. — We have availed ourselves of 
an opportunity of inspecting a set of casts taken 
from moulds made on the ancient and quaintly 
carved inscriptions which exist on the walls of 
cells and chambers formerly occupied by prisoners 
within the walls of the Tower. The acquisition 
under all circumstances of fac-similes of these 
curious mementos must have been a work of 
time, great labour, and expense ; and to a lady, by 
whom the enterprise has now been undertaken, 
the difficulties must have been proportionably in- 
creased. These records of captivity whence the 
casts have been taken, are distributed throughout 
apartments in 44 The Bell Tower the Beau- 
champ Tower, the Broad Arrow Tower, Ac. ; and 
among the autographs that occur, are those of Sir 
William Tyrrel, cut 400 years ago ; Anna Boleyn, 
Lord Guildford Dudley, the Duke of Northum- 
berland, Lord Cobham, Philip Howard, the famous 
Leicester, who was implicated in the Wyatt con- 
spiracy ; the mother of Lord Damley, Arthur 
and Edward Poole, Everard Digby, and Henry 
Walpole, who were concerned in the Gunpowder 
Plot, Thomas Peverel, Ac., Ac. These names, 
and a multitude of others comprehended in the 
series, are familiar to us from their association 
with a succession of plots and conspiracies which 
have occurred in the history of our country, and 
which very often stand in the place of legitimate 
history ; they come down to us invested with so 
grave an interest, that the collection must be de- 
sirable to collectors of autographs — to persons 
curious in such matters, and especially to the de- 
scendants of those by whose hands the inscrip* 
tions were executed. The impressions have been 
taken by Miss C. E. Wilson, at whose residence, 
63, Newman-street, a set of them may be seen, 
Burford’s Panorama of Cabool. — The ex- 
hibition of this view cannot fail at this particular 
time to attract crowds of visitors. For distant 
effects, and purity of tone, it is one of the best of 
these panoramas we have yet seen. The spectator 
looks down upon Cabool, the houses of which 
seem nothing better than an assemblage of cubic 
masses of baked clay, and from them the eye 
travels to the barren and stupendous mountains, 
by which the place is closed in on all sides. The 
view is taken from the Asha Mahi, the western 
of the two hills which form its natural defence. 
The course of the Cabool river is seen dividing 
the city. On its right bank, stand the greater 
number of buildings, the principal bazaars, the 
Chundawul, and the tomb of Timour Shah ; toge- 
ther with the Bala Hissar, or fortress of the 
city ; and the royal palace, as also the Koolah-i- 
Feringee— the European hut. On the left bank of 
the river is a suburb, and towards the east, the view 
ranges over a fertile plain divided into meadows, 
orchards, vineyards, and studded with small 
villages and the country residences of Affghans of 
rank and wealth — the distance being closed by 
mountains backed by the stupendous peaks of the 
Koh Damon, which is white with eternal snows, 
life is given to the panorama by groups, in which 
appear Mahomed Ukhbar Khan, Abdul Samud, a 
Persian Geueral, Sir Alexander Burnes, Captain 
Vickoich, the agent from the Russian Ambassa- 
dor at Herat, Dost Mahomed, Ac., Ac. 

The Dulwich Collection. — It has been 
suggested to publish a series of engravings from 
the works in this collection, or rather an “en- 
graved catalogue,” consisting of spirited etchings 
executed in the characteristic manner adopted in 
etching by the respective painters, from whose 
works they are copied. Those from Both in the 
delicate manner of his etchings ; those from Karel 
du Jardin, Ostade, Berghem, Rembrandt, Ac., in 
their respective styles, and which are as varied as 
those of their paintings. Nothing can be more 

characteristic of the originals than these beautiful 
representations of them, stamped by the master's 
hand. They leave something to the imagination, 
and allow us to 44 think” of the original paintings 
which modem engravings, by attempting too 
much, abstract altogether from the mind's eye. 

A work of this nature, in addition to its own in- 
trinsic merit, would have all the charm of no- 
velty ; and could not fail to be liberally received. 
Public taste has advanced sufficiently to appre- 
ciate character and texture ; tone and delicate 
execution alone will not satisfy. Some collections 
from the gallery were a few years ago published 
by the late keeper, Mr. Cockbura ; but they are 
in colours, mounted as drawings. 

Wilkie's Palette.— James Hall, Esq., bro- 
ther of Captain Basil Hall, R.N., has lately pre- 
sented the palette of Sir David Wilkie to the 
Royal Scottish Academy of Painting, whereon is 
affixed the following inscription : — “ This relic, 
one of the favourite palettes of Sir David Wilkie, 
was purchased at the sale of the effects of that 
illlustrious and lamented artist, and presented to 
the Royal Scottish Academy by Mr. James Hall, 
May 1842. The palettes of Hogarth and Sir 
Joshua Reynolds are deposited in the museum of 
the Royal Academy. 

Miniatures on Marble. — From the “Re- 
pertory of Patent Inventions” we borrow informa- 
tion, that thin polished plates of white marble are 
now strongly recommended, by several French 
artists, as a substitute for ivory, in miniature paint- 
ing. The slices of marble are cemented down upon 
a sheet of pasteboard, to prevent danger of fracture : 
they are said to take the colour with great freedom, 
and to hold it with tenacity ; and it is obvious, that 
they are incapable of any change by time, or the 
effects of heat or damp. Ivory, it is well known, 
becomes yellow ; and, in hot climated, often splits, 
or warps. It can only be obtained, also, of a very 
limitea size ; whereas, these plates of the finest 
grained statuary marble, can De obtained of any 
size. Plates of about twelve inches by ten inches 
are prepared of only about three -sixteenths of an 
inch thick, and smaller ones thinner in proportion. 
Marble has been occasionally used, before now, as 
a plane for painting on in oils ; but its application 
to miniature painting is certainly new, and seems 
valuable. Marble, according also to the same 
authority, has been recently applied to other pur- 
poses : a beautiful mode of ornamenting it having 
been lately introduced in Paris. It consists in 
etching, by acids, deeply into the marble, various 
designs upon a properly prepared bituminous 
ground. When the corrosion has gone sufficiently 
deep, the cavities are filled up with hard coloured 
wax, prepared so os to take a polish equal to that 
of the marble, when cleaned off. Drawings thus 
made on black marble, and filled in with scarlet wax, 
after the manner of Etruscan and certain Egyptian 
designs, are said to have a very noble effect, and 
are applied to tables, panelling, stoves, Ac. 

Sales Past and to Comb.— Mr. Phillips sold on 
Wednesday, the 18th of May, and the four following 
days, an important collection of antique gems, the pro- 
perty of the late Allan Gilmore, Esq. , of Portland-place. 

Among the most valuable lots were the following : — 
Cammei, 4 A whole-length of Bacchus with hisTherses,' 
13 1. 13s. ; 4 Pan seated, with his Pipes hanging on a 
Tree,' 6 1. 10s. : 4 A large and fine Head or Cicero,' 
6/. 15s. ; 4 Head of Charles I.* in high relief, 71. 15s. ; 

4 Intagli,' a head by Marchant, 13/. 13s. ; 4 Head of 
Cicero,* 71. 7s. ; 4 Ulysses before the Palladium,' 
12/. Is. 6d. ; Cammei, 4 A head of Cleopatra,' 29/. 8s. : 

4 Portraits of Earl Damley and Mary Queen of Scots,' 
16/. 16s.; 4 Bacchus and Ariadne,* 10/. 10s.; 4 Head of 
Cicero,* 32/. 11s.; 4 Cupid and Psyche,' 15/. 15s.; 

4 Head of Ceres,' 8/. 18s. 6d. ; 4 Heads of Marcus Au- 
relius and Faustina,’ 58/. 16s. ; 4 Head of Queen Eliza- 
beth,’ 19/. 19s. : 4 Head of Alexander, reverse Darius,' 
13/. 13s. ; 4 A Necklace,' 15/. 4s. 6d. 

Books. — 44 Galerie ou Palais Royal,'' 15/. 4s. 6d. ; 

44 Le Mus^e Fraucais,” 80/. 17s. 

Miscellaneous.— ‘The Twelve Caesars' in ivory. 
12 others of 4 Philosophers and Poets.' Ac., arranged 
in a case, 16/. 16s.; l h Miniature Portrait of Louis 
XIV. when young,’ by Petitot, 10/. 10s.; a Gold-box of 
ancient workmanship with Portraits of 4 Charles I. and 
box of Henrietta Maria,' 23/. 2s.; a Massive Gold-box 
with an Intaglio Head of 4 Cleopatra' on the top, 22/. Is. ; 
a curious Silver-gilt Cnp and Cover of antique workman- 
ship, 173/. 2s. ; a fine Sapphire mounted as a ring, 
15/. 15s.; a Gold Miniature Frame set with fine 
Oriental pearls, 16/. 5s. 6d. 

And on the 31st of May and following day, a portion 
of the same property 4 The Virgin, Child, and St. 
John,’ Raffaelle, 54/. 12a ; 4 The Golden Age,' Geor- 
gione, 52*. 10a ; 4 The Holy Family with St. Catherine,' 
69/. 6s.; 4 A Landscape,’ Cuyp, 110/. 6s.; ‘The Ex- 

terior of an Inn,' Jan Steen, 50/. 8a ; 4 The Entrance 
to an Italian Sea Port, 67/. 16s. ; 4 A Landscape,' 
Poussin, 63/. ; 4 A Portrait of a General Officer,’ Geor- 
gione, 50/. 8s. ; 4 The Marriage of St Catherine,' Raf- 
faelle, 157/. 10s. ; 4 A Sea Piece, with Fleet under- 
weigh,' Backhnyaer, 99/. 15a. ; 4 A Warm Sunny Land- 
scape,’ Cuyp, 105/. ; 4 The Marriage of St. Catherine,' 
Corregio, 94/. 10a. ; 4 The Feast of Love,' P. Veronese* 

78/. 15s. ; 4 The Marriage at Cana,' P. Veronese, 47/. 5s. ; 

4 The Cartoons,' after Raffaelle, Sir James Thornhill, 

367/. 10s. ; 4 A Family Concert,' Jan Steen, 63/. ; 4 The 
Virgin and Child, with St. John, in a Landscape,' Lo- 
renzo Credi, 69/. 6s. ; 4 The Judgment Hall, with the 
Mocking of Christ,' by Di Mazzoiino Ferrara, 162/ 15s. j 

4 Salvator Munrii,' Carlo Dolce. 168/. ; 4 The Passion of 
Christ,' an Altar-piece, Sebastian Del Piombo, 310 1 ; 

4 The Beatification of the Virgin, surrounded by Angels, 
Raffiselle, 288/. 15s. 

Mr. Phillips will sell on July 7th a collection of rslo- 
able ancient pictures of tne Italian and Flemish 
Schools; among which are some admirable specimens 
of Sebastian del Piombo, Litian, Allozi, Caspar Poussin, 
and other masters of the highest reputation. 

Messrs. Christie and Manson, on the 1st ultimo, sold 
a collection of sketches by the late Sir David Wilkie, 
R.A., the property of Mr. Windus, among which were 
studies for many of his celebrated works. The follow- 
ing realized the prices affixed 

4 Escape of Mary Queen of Scots/ in colours, 13 /. ; 

4 Sir David Baird finding the Body of Tippoo,' in colours, 

91. 19s. fid. ; 4 Alfred in the Neatherd's Cottage,' in 
chalk, 10/. 10s. ; three principal fignres in 4 The Bridal 
Mora,' and three others,’ 12 1. Is. fid. 

On the 17th, a collection of pictures, the property 
of Harry Hankey Oobree, Esq., deceased, among which 
the following by Morland were sold for the prices an- 
nexed 

4 A Peasant with a Child feeding a Goat,' 31/. 10s. : 

4 A Bull-dog and Spaniel disputing fbr a Sheen's Head,' 

110/. 5s. ; 4 The Cora Bin.’ 225/. 15s.; 4 A Grey Cart- 
horse and another Horae lying down in a loose stable,' 

94/. 10a. : 4 Three Sheep in a table.’ 232/. Is. ; 4 Interior 
of an Ale-house with a group of Figures,’ 220 /. 10s.; 
‘Three Pigs eating Cabbage-leaves m a Shed,' 210/.; 

4 A Fishing-boat off Margate Pier,’ by Turner, 52/. 10». ; 

4 A Fishing-boat pulling off from the Shore.’ 168/. ; 

4 The Letter of Introduction,' Sir David Wilkie, R.A., 

472 1. 10s. 

On tbe same day, the property of Joseph Delafield, 
Esq., deceased , 

‘Vessels in a Breeze off the Brill/ Kockkock, 

28 1. 17s. 6d. ; 4 A Squall off a Fortified Town,' Ditto, 

32/. 0a. fid. ; 4 Fruit and Flowers,' Van Oas, 40/. 8s. fid. ; 

4 Cavaliers preparing to depart from an Inn Yard.’ by 
Wouvermana, 225/. 15s.; ‘Cologne/ Sir A. Calcott, 
R.A., 152/. 5s. ; 4 Sterne and the Grisette,' Leslie, R.A., 

71/. 8s. ; 4 The Pricked Finger/ Collins, R. A., 199/. 10s. ; 

4 A Beautiftil Landscape, with Arcadian Shepherds in a 
Valley/ Sir A. Calcott, R.A., 199/. 10s. 

THE SCOTTISH ART-UNION. 

The eighth annual general meeting of the Amo- 
ciation for the Promotion of the Fine Arts in Scot" 
land, was held in the Assembly Rooms, George- 
street, Edinburgh, on the 28th of May U*t» 
when, on the motion of Sir William Newbigging, 

A. Rutherford, Esq., M.P., was called to the chair. 

The business of the day was opened by a suitable 
address from the chairman, after which the re- 
port was read by the secretary, Mr. J. A. Bell, 
architect. 

Mr. Sheriff Whigham then propoeed the adop- 
tion of the report, and proceeded to congratulate 
the meeting on the success which attended the as- 
sociation. It is a remarkable fact, he observed, 
that there had been realized by the promoters of 
the Fine Arts in Scotland, a sum not less than 
£31,000; and that, now, according to the report, 
they had an income, which he trusted would prove 
a permanent one, of upwards of £6000. After a 
eulogy of some length on the laws of the society, 
the motion of the speaker was seconded by Sir 
George Macpherson Grant. 

Sir Gilbert Stirling moved the second resolution, 
to the effect, that the committee of management for 
the year 1842-43 be authorized to make the neces- 
sary arrangements to obtain a line engraving of 
Mr. R. S. Lauder's 4 Glee Maiden,' to be distri- 
buted among the members for the year 1843-44. 

Mr. Douglas Sandford, advocate, seconded the 
motion. „ . , A 

Mr. Glassford Bell moved a vote of thanks to 
the committee resigning office, for the efficient dis- 
charge of the duties confided to them. He com- 
mented pointedly on the difficulties attending the 
selection of pictures, and then proceeded to paint 
out the advantages of the system pursued by the 
association. The speaker drew a comparison be- 
tween the proceedings respectively, of the Edin- 
burgh and London Art-Unions, and concluded by 
reverting to his motion, which was seconded by 
Mr. Swinton, advocate. 


Digitized by ^ joogle 



1842 .] 


Sir William Drysdale moved the appointment 
of the committee, a resolution which was seconded 
by Mr. Borthwick, after which the drawing com- 
menced. 

We cannot concur in the spirit of some of the 
speeches delivered on this occasion ; they had been 
more graceful without the superficial comparisons 
which form their substance — “ a haggis, God bless 
her, can charge doon hill” — and nothing is so 
fluent as argument proffered without the fear of 
controversy. For ourselves we abstain from 
lengthened comment on the animus of the speeches, 
but refer our readers to a letter from a Scottish 
artist on a subject of greater interest — 44 The Con- 
stitution of the Scottish Art- Union." Be it re- 
membered that every Scotsman, when absent 
from that country north of the Tweed, carries in 
his heart another Scotland, which, be it in the 
land of the Southron or of the remote stranger, 
gladdens or saddens as the news from home 
raises emotions of pride or otherwise ; but with- 
out further allusion to the views of the speakers 
on this occasion, than a hearty concurrence m their 
good wishes for the continuance of the prosperity 
which they so exultingly announce — we at once 
congratulate the Scottish Art-Union on the solidity 
Of its progress. It is sure to make its way up- 
wards ; and the list of prize-holders affords ample 
evidence that it is penetrating downwards into 
a stratum of society whence incalculable reciprocal 
advantage must be the result. Prizes were drawn 
by the under-mentioned subscribers:— 

LIST OF PICTURES CHOSEN BY PRIZEHOLDERS 
OF 1842. 

The Title of Picture, ArtieVe Name, and Price. 
Cattle Piece, E. T. Crawford, 28/. 

The Haunted House, J. C. Brown, 80/. 

Beach Scene near St. Andrew’s, Robert Norie, 11/. 

On the Coast of Galloway. F. Williams, 25/. 

Trouting Stream on the Esk, Robert Kilgour, 25/. 

The Waterside, Miss Stoddart, 20/. 

Bleaching Green Gossips W. J Thomson, 15/. 

View on theTeith, James Stein, 12/. 

A Harvest Field, Daniel Macree, 60/. 

Dutch Galliots and Lugger off Lowestoffe, E. T. Craw- 
ford, 20/. 

Bellringers and Cavaliers celebrating the Entrance 
of Charles II. into London, on his Restoration, 
W. B. Scott, 25/. 

The Last Gleam of Light, Horatio M'Culloch, ISO/. 
Pompeii. C. H. Wilson, 85/. 

The Enthusiast, J. M. Barclay, 25/. 

Music, R. S. Lauder, 80/. 

Distant View of Londonderry, Miss Margaret Na- 
smyth, 12 1. 

Beach Scene, E. T. Crawford, 80/. 

Girl and Rabbit, John Robertson, 16/. 

Sea Piece— Calm, E. T. Crawford. 80/. 

Miller’s House, Saline, John M‘Leod, 10/. 

Study of Pollard Willows, Mrs. Ben net, 15/. 

A Scene at Newhaven, near Edinburgh, Alexander 
Fraser, 100 1. 

Aurora, John Ballantyne, 80/. 

View on the Coast, Lanarkshire, P. M'Laren, 30/. 
Gateway, St. German L’Auxerrois. J. A. Houstouo, 6/. 
Glengamock Castle, Andrew Donaldson, 18/. 

Entrance to Ayr Harbour. G. F. Buchanan, 20/. 
AStudy in Arundel Park, Sussex, John Willson, jun., 18/. 
Loch Ascog, and Ruin, Argyllshire, Andrew Donald- 
son, m . 

- The Pet Rabbit, John Syroe, 20 1. 

DistantViewof Dunstaffnage Castle, J. Milne Donald, 15/. 
An Alchemist visited by a Familiar of the Inquisition, 60/. 
The Martyr’s Grave, Alex. Johnstone, 40/. 

Girl and Fruit, Wm. Rattray, 10/. 

Lock Veunacher, James Stein, 15/. 

Moonlight on the Hudson River, North America, 
A. Richardson, 8/. 

Coast Scene near Bafnbougle, Edinburgh, A. B. Monro, 
40/. 

The First Christian Martyr, by S. Blackburn. 

The Looking Glass, R. S. Lauder, 80/. 

Gossips, J. Graham Gilbert, 70/. 

An English Pastoral, John Wilson. 55/. 

Daily Distribution of Soup to the Women and Children 
at a Capuchin Convent, on the Capitol Hill, Rome, 
E. W. Dallas, 20/. 

Mary Queen of Scots and her Retinue returning from 
the Chace to the Castle of Stirling, William Simson. 
The Gale, by Montague Stanley, 20/. 

A Distant View of Harrow-on-the-Hill, from Hamp- 
stead, Middlesex, John Wilson, jun.. 6/. 

Watermill, near Hendon, Middlesex, it Mackay, 5/. 
Approach to Bangor, Montague Stanley, 30/. 

View at Kirkland, W. J. Thomson, 15/. 

Beach Scene, John Olipbant, 10/. 

Entrance to Dunbar Harbour, J. F. Williams, 15/. 
Arthur’s Seat from the Grange, Robert Stein, 10/. 

The Cove of Dung las, J. F. Williams, 60/. 

Orleans, on the Loire, William A. Wilson, 15/. 

| Oakwood Tower, on the Ettrick, H. G. Duguid, 15/. 
Landscape and Cattle, John Wilson, 25/. 

Taking a Rest, W. Smellie Watson, 20/. 

Breeie with Shipping, J. W. Carmichael, 20/. 


THE ART-UNION. 


A Last Look of Home, J. C. Brown, 40/. 

An Incident in the Crusades, J. A. Houston, 50/. 

Coast Scene, F. Godby, 10/. 

Salvator Ross Sketching in the Abruzzi, William John- 
stone, 50/. 

Study of Red Deer, James Giles, 25/. 

Silenus praising Wine, Apollo and Mercury Listeners, 
David Scott, 35/. 

A Dead Point, William Shields, 12/. 

Loch-na-Gar, James Giles, 60/. 

Inch Garvie, on the Frith of Forth, 40/. 

Scene from the Lucca Mountains, Andrew Wilson, 120/. 
The Master of Ravenswood parting with Caleb Balder- 
ston in the Court- yard, at Wolf’s Crag, Gourlay 
Steel, 60/. 

Thomas Duke of Gloucester taken into Calais, David 
Scott, 200/. 

Watering Horses, E. T. Crawford, 25/. 

Reverie, William Wallace, 30/. 

View on the Eak, Robert Kilgour, 20 /. 

View of an Ancient Grave, Isle of Skye, Taverner 
Knott, 14/. 

Interior in Key-lane, Sandwich, Arthur Glennie, 12/. 
Loch Lomond, Dumbartonshire, Miss Jane Nasmyth, 15/. 
The Watering Place, W. H. Townsend, 40/. 

Interior of the Kitchen of a Capuchin Convent on the 
Capitol Hill, Rome, E. W. Dallas, 25/. 

On the Dochart, near Kellin, Arthur Perigal, jun., 15/. 
Moonlight Scene in Holstein, by Macneil Macleay, 9/. 
The Pass Leny, &, K. Greville, 15/. 

The Orphans, Mr. Lawson, 9/. 

44 Rush, Bush keeps the Cow,” scene near a border 
Peel, D. O. Hill, 15/. 

The Child St. John in the Wilderness, James Archer, 20/. 
Sportsmen preparing for Home, Charles Gray, 50/. 
Windsor, Robert Strin, 20/. 

A Highland Scene, Horatio M‘Cu11och. 50 Z. 

Mill on the River Bran, near Dunkeld, Macneil Mac- 
leay, 35/. 

The Matchseller, John Olipbant, 7/. 

Head of Derwent Water, Fall of Loudore, Montague 
Stanley, 30/. 

The Squall, Montague Stanley, 80/. 

Kenilworth Castle, D. (). Hill, 10/. 

Young Highland wife, Alex. M'lnnes, 10/. 

Erith Reach, on the Thames, Robert Mackay, 5/. 
Diuldingston Lock, Edinburgh, W. H. Townsend, 50/. 
Lighthouse on the Old Mole and part of Genoa, Andrew 
Wilson, 20/. 

Porta Nuova, Palermo, W. L. Leitch, 10/. 

Castle near a Border Tower, D. O. Hill, 15/. 

View in Highlands, Walter Ferguson. 5/. 

Girl at a Fountain, William Crawford, 17/. 

La Zingara che lndovina alia Sibilla, Tivoli, James 
Giles, 30/. 

** No Surrender,” James Giles, 80/. 

Thirlstane Castle, John Stewart, 12/. 

Interior of a Wine House in the Campagna, near 
Rome, E. W. Dallas, 35/. 

French Fishing-boats, Wm. Nicholson, 12/. 

View from the Mouth of Kinderhook Creek, North 
America, A. Richardson, 8/. 

River Scene on the Devon, near Dollar, Arthur Perigal, 
jun., 25/. 

Near Moffat, James Stevenson, 8/. 

A Border Tower, Wm. Mason, 10/, 

A Recollection of Backhuysen, J. C. Schetky, 20/. 

Tlie Anxious Family, Mungo Burton, 30/. 

Palliano in the Pontine Marshes, W. Nugent Dunbar, 5/. 
An Armourer of the Olden Time, Henry O. Neill, 15/. 
The Death of Cardinal Wolsey, S. Blackburn, 100/. 

The Confidants, James Douglas, 15/. 

The Turnip Lantern, Wm. Kidd, 10/. 

Pier End, Burntisland, J. W. Carmichael, 14/. 

Ponte Vecchio, Florence, Nugent Dunbar, 5/. 
Landscape, with Dead Birds, Geo. H. Novice, 12/. 
Argyll an Hour before bis Execution, Geo. Harvey, 200/. 
Moonlight on the Lake of Perugia, Andrew Wilson, 20/. 
On the Almond Water, Sunset, Robt. Kilgour, 25/. 

The Wild Flower, Wm. Wallace, 25/. 

Red Deer Feeding on, James Giles, 25/. 

A Mother’s Grave, Mungo Burton, 25/. 

Head of Loch Lomond, Miss Stoddart, 60/. 

Morning— a Scene in Dumbartonshire, Macneil Macleay, 

Castle Crag, Borrowdale, R. K. Greville, 25/. 

The Present, W. C. Linton. 

Shipping from Grimsby Pier, Wm. Nicholson, 12/. 

A Gleam of Sunshine, John Watson Gordon, 60/. 

Still Life, Peter Cleland, 12/. 

Fish-cart, James Stevenson, St. 

On the Water of Leitb, near Saughton Hall, Arthur 
Perigal, jun., 20/. 

Part of the Coliseum, Rome, D. Alexander, 20 1. 

Interior of St. Thomas’s Hospital, Sandwich, Arthur 
Glennie, 12/. 

Road between Arrochar, Loch Long, and Tarbert, 
Loch Lomond, Montague Stanley, 25/. 

Bell’s Pool, on the Tweed, J. Pairman, 10/. 

The Half-way House, 10/. 

Interior of Roslyn Chapel, Robert Mackay, 12/. 
Windmill on the Thames, Frederick Godby, 5/. 

The Mouth of the Tiber. A. B. Monro, 40/. 

Colzean Castle, Coast of Carrick, 1). O. Hill, 20/. 

Nine Views of Old Houses in Edinburgh, W. Srneall, 18/. 
West Country Fishes, Geo. Simson, 60/. 

Highland Children at Supper, John Ballantyne, 25/. 

A Study from Nature, John Wilson, jun., 18/. 

Doune Castle, James Stein, 10/. 


167 


CORRESPONDENCE. 

A NEW VEHICLE. 

TO THE EDITOR OF THE ART -UNION. 

Sir,— A great deal of very nseftil and interesting 
matter has been put forth by your journal on the sub • 
ject of M vehicles” for the use of artists, but there are 
two or three important particulars which have been 
overlooked altogether. 

The first, and perhaps most important, of these ia 
the use of sugar of lead, of which painters, in general, 
have a singular dread. An inquiry into the nature and 
effect of this material would be highly serviceable, and 
it is to be regretted that it has been passed over unno- 
ticed. It is singular, also, inasmuch as the experi- 
ments of the late Dr. Renier, as far as they were 
carried, went, not only to prove the in noxiousness of 
its use, but its advantage. I bad the pleasure of an 
acquaintance with the Doctor during some years of the 
time in which be was prosecuting his researches ; and 
1 remember perfectly well bis showing me two sheets 
of writing paper which had been saturated with linseed 
oil— the one with and the other without any mixture of 
sugar of lead. That which had been dipped into oil 
alone had become dark and yellow, while the other 
remained as little discolored and as white as it was at 
first. These sheets of paper had remained four years 
shut within a dark closet. The sugar of lead used was 
that commonly bought in bladder at the colourman’s. 
One objection to the use of sugar of lead is, that it hat 
a tendency to make its way out of dark colours, where 
it is most needed, and show itself on the surface ; 
nothing is more easy than to prevent this by a mode 
of using it which will presently be explained. Another 
objection is, that it has a tendency to make the pig- 
ments with which it is used crack. This is altogether 
a false notion, springing out of a want of understand- 
ing of the causes which lead to this mischief, and ia 
easily explained and proved by experiment. If a painter 
will take a strong solution of gnm-arabic and varniah 
a newly-painted picture, be will find his colour cracked 
down to the ground of his canvass or panel in three 
days ; and, if he has used much unctuous stuff that 
dries slowly, in twelve hours. By this experiment the 
theory of cracking is easily explained. If the upper 
layer of gum or varnish dry much quicker and harder 
than that which is under it, its contraction will pull 
apart the under, and the whole will become cracked. 
I knew an artist, the first of bis genera, who used to 
paint with two media, separately, linseed or nut oil and 
mastic varnish ; and there are pictures of his to be 
found in which the cracks are so wide that the head of 
one figure is actually shifted upon the shoulders of 
another. Had these two vehicles been mixed together 
and thus used, or had either been used separately 
from the beginning, no such effect would have taken 
place j indeed, it is very much to be questioned whether 
a menstrum of any kind employed in this way will ever 
crack. 

These observations naturally lead to remarks on 
vehicles, before the consideration of which it is neces- 
sary to take into consideration the previous facts. 

Without pretending to decide upon the merits of the 
vehicle made with oil and a solution of borax, the fact 
ia not to be overlooked that a medium, similar in cha- 
racter, has been known to painters from time imme- 
morial— a vehicle in no way inferior, and, assuming 
the innocency of sugar of lead, in many respects supe- 
rior to the other. This is the magilp made with a solu- 
tion of sugar of lead, oil, and a few drops of mastic 
varnish. Artists, in general, are no great experimen- 
talists, often wanting both time and perseverance, so 
that out of the few dozens who have attempted to make 
this mixture, half, or more, have failed. 

It is to be remembered that the bane of the materia 
pictoria is oil, and the grand desideratum of a painter 
is the power of employing as much or as little of this 
article as he likes with certain and satisfactory results. 
Now, the use of water, through the instrumentality of 
borax, certainly gives him a greater command over 
this unmanageable agent ; but it is still attended with 
inconveniences. These inconveniences are greatly les- 
sened by making use of the solution of sugar of lead in 
the following manner : — 

Make a solution of sugar of lead in distilled water 
(distilled, because common water often contains alum), 
and mix it half and half with oil (linseed, poppy, nut, or 
drying oil), add to it (before it is stirred) about a tenth 
proportion of mastic varnish, and then beat the whole 
together with a flat long haired brush. Observe, that 
upon this operation much depends: if it is continued 
long enough so as to mix intimately the component 
parta into one compact mass, the water will never after 




168 


separate, however Ion g it is kept. This magilp differs 
from that commonly made, the more it is mixed the 
firmer and the better it becomes. 

This magilp is enlitled to all that is claimed for the 
other. It contains as little oil, has as fat or rich a 
texture, and is as agreeable to use. In addition, it dries 
better, and is for less opaque. 

# AM that has been said about this magilp giving bril- 
liancy to colours or colouring may be regarded as sheer 
nonsense ; clear oil or varnish, whilst it last will give 
more brilliancy than any semitransparent medium. 

There is another mode of making an excellent 
magilp long practised and used by the late Sir 'William 
Beechey, whose incessant experiments for a period of 
50 years give them a high value. This is, instead of 
water, to use spirits of wine for making the solution of 
sugar of lead and employing oil and varnish in the same 
way. It is to be observed, however, that sugar of lead 
is not entirely soluble in spirit as it is in water, and in 
consequence the magilp made with it is not so smooth 
and uniform as that made with water. It is, however, 
equally good, better, I should say, than the borax solu- 
tion magilp in all respects, and even preferable to the 
other, as, however much it is rubbed, it does not 
lather and turn white. The use of spirits of wine to 
any extent is known to be entirely innoxious. 

Painters, like other men, must have their toys, and, 
as silex and borax will have their day, those who like it 
may find a " succedaneum ” in the nostrum here re- 
commended. 

The use of prepared flint, by the early painters, is an 
unsupported assumption ; and it is more than probable, 
that what is taken for flint or glass is, in fact, the re- 
fuse of the ultramarine— the ash as we call it. Artists 
of yore were in the habit of preparing their own colours 
and were not likely to throw away a material the use of 
which was self-evident. 

It is not to be overlooked, that whilst the experi- 
mentalists and painters of this country are busily en- 
gaged in contriving and trying these nostrums, all the 
other nations of the world are indifferent to them, by 
which it is proved that pictures can be painted without 
their use. 

Perhaps a more careful consideration of the employ- 
ment of unctuous matters might be attended with advan- 
tage ; for whoever will carefully look at the works of the 
old masters, roust perceive that whatever the media 
were which they used, very little of the merits they ex- 
hibit can fairly be attributed to the employment of 
them. 

If we would have an example of the employment and 
durability of oil-colour, let us look to the common 
floor-cloth we have under our feet, and what it goes 
through in the course of the year under the hands of 
the housemaid, and then think of a picture and its 
brush of feathers I The medium employed here is of 
the simplest kind, namely, colour mixed with common 
linseed oil without drier or any ingredient to harden 
it. And here it is worthy of remark, that new linseed 
oil contains a very large quantity of water naturally 
combined. The combination appears to take place 
through the intervention of the vegetable mucilage 
which it receives in the process of expressing, and this 
appears to act much as unctuous matter does in the 
process of making the water solution magilp. The 
colour employed in the floor-cloth manufactory dries 
slowly but firmly, and from the bottom, whereas the 
ordinary magilp, made with drying oil and mastic 
Tarnish and other unctuous matter dries first upon the 
surface, where a skin forms that prevents the portion 
beneath from being affected by the air. 

It might be of advantage to artists if some scientific 
persons would examine this matter a little. The sub- 
ject of colours has received great attention from Mr. 
Field, but most other departments are in a neglected 
condition. Some medium for combining oil and water 
is still desirable. 

Oil, as has been said, is the bane of the palette, but 
as its use is indispensable, the painter requires only a 
greater command over it. There is a singular property 
in white spirit varnish (spirits of wine and shellac), 
which, perhaps, some chemist will explain. A few 
drops of it poured into a mass of the most unctuous 
colour and rubbed up with the knife, appear to attach 
themselves to, or rather to destroy the oil of such a mass 
and operate in such a way by thickening and drying, as 
it were, the colour, that after a day or so it can be 
formed into a kind of pastile, which will write like a 
crayon. If a bladder of white be taken and some 
colour squeexed out, six or eight drops of the varnish 
will give it a consistency and render it perfectly opaque, 
so that when it is dry it will write like a bit of chalk. 
M has a similar effect on all colours, and more to when 


THE ART-UNION. 


they are mixed with linseed than with any other oil. 
This peculiarity may be turned to account. 

Those who wish to use sugar of lead will find that, 
employed in the manner here described, it will not 
come to the surface as it does when ground in the ordi- 
nary way. By the way, I have seen a remark on the 
use of the borax-solution magilp, which appears highly 
to recommend it, and what is singular it is to be found 
among the objections made to it. In some remarks 
upon one of Mr. Coathupe*s communications it is 
stated, that after using the medium the colour was 
found to wash off. Now, this is exactly the condition 
in which a painter would wish to find the colour of his 
picture. He has nothing more to do but to varnish 
and secure it, and to prevent a similar occurrence mix 
a few drops more oil with the vehicle. 

Although the general reader can feel but little in- 
terest in a subject like this, it is still of first-rate im- 
portance to the artist. By bringing it under public 
observation and discussion, great advantages may 
arise, since those best able to pursue the inquiry are 
afforded the means of knowing t chat it it that artists 
require. Notwithstanding some peculiarities in the 
process of each individual artist, there arc certain re- 
quisites demanded in common by the whole body. 
Thus, for example, a picture must be made up of opake 
and transparent parts, and as a matter of common 
sense and necessity the medium employed in the one 
must differ from that in the other. For the one# a 
medium as thin as water is demanded; for the other 
some kind of unctuous matter that will neither crack 
nor become opake, and'yet, for reasons which have been 
mentioned, they ought to be of the same or similar 
qualities, and at all events they ought to dry in about 
the same time. 

One grand objection to an unctuous vehicle, in which 
oil is the principal ingredient, is, that it begins drying 
at the surface : a thin pellicle forms over , and a blister 
is left under which never dries. In the case of colour 
used in the fioor-cloth manufactories, mixed as it is 
with oil, containing a large portion of water naturally 
combined, the process of drying is of a very different 
character; the whole mass hardens gradually and 
slowly, the co-operation of the water or the minute 
particles of mucilage keep the colour porous t as it were, 
the mass shrivels and hardens throughout, and the 
slight skin that is ultimately formed is so thin as to 
be scarcely perceptible. 

Everybody must have observed, that mastic varnish 
left in a bottle or a gallipot does not acquire a skin on 
the surface as oil does, but gradually thickens and 
shrinks, and apparently dries throughout. 

Here then is a medium having one property so 
desirable to the painter, but there are, at the same time, 
others very objectionable. 

However, it is mastic varnish that I wish to recom- 
mend, feeling confident that if used in the way pro- 
posed, it will be found more efficient than any known 
medium, for the reasons already assigned. 

Take the sugar of lead solution and good mastic 
varnish, equal quantities, with a very small portion of 
(the newest) linseed oil, beat them up together as 
directed, and a magilp will be formed for general pur- 
poses better, perhaps, than any yet tried. 

Observe that it is not absolutely necessary to employ 
any oil t the solution and the mastic form, together, a 
beautiful substance that will not discolour the whitest 
writing-paper, and thinned with (distilled) spirits of 
turpentine, and spread upon writing paper, although of 
the consistency of butter when put on, when dry the 
paper will be as free as if it had only been moistened 
with water ; so that with this medium a picture may be 
painted without employing one drop of oil more than 
what the colours contain, supposing them bladder 
colours as bought at the colourmen’s shops. 

The employment of oil, however, is recommended, 
and for this reason , that a few drops of it serve to 
modify the varnish in this way : 

For opake parts— The magilp, with an extra quantity 
of the solution or turpentine. 

For general nee— The magilp. 

For transparent parts— The magilp, with an extra 
quantity of mastic and a few drops of oil. 

It will be seen at once, by every sensible* artist, that 
in this way all the requisites and casualties that can 
possibly turn up in the process of painting a picture are 
provided for. The rationeUe of the thing is clearly ex- 
plained, the materials are well-known, and the medium 
recommended is at least worth a trial. 

1 have said that the subject of vehicles for painting is 
of first-rate importance to the painter; as a proof, 
painters are recommended to go and look at the pre- 
sent condition of Sir David Wilkie’s fine picture of 


[July, 


* Knox Preaching,* and then refer to their recollections 
of it only eight years agq, when it was fresh from the 
easel, and hanging on the walls of the Academy t 

Yours, &c., Solomon Csomk. 

THE SCOTTISH ART-UNION. 

TO THE EDITOR OP THE ART-UNION. 

Sir,— I have observed with pleasure, in some of your 
late numbers that you take an interest in the working 
and effect of our Scottish Association, or "Art- 
Union ;»» and that you have a desire to suggest, or 
maintain when suggested, any plans proposed for its 
advancement. You have noticed faults in its consti- 
tution, and errors and defects in its management, of 
which, I think, the following are the principal 

1st. Exclusiveness in its operation. 2nd. Unsteadi- 
ness and fickleness, which has a tendency to discou- 
rage high effort. 3rd. Too great striving to bring into 
notice the immature efforts of young artists. 4th. A dis- 
agreeable and embarrassing system of reducing the 
prices put by artists on their works; and, lastly, the 
imperfect constitution of the committee of manage- 
ment. At present, when the whole matter occupies 
much of public attention, I think a few words ad- 
dressed to each of the above subjects would be much 
in season. First, then, I quite agree with you, that 
the exclusion of all works other than those of Scottish 
artists is decidedly hurtful, and retards “ the promo- 
tion of the Fine Arts in Scotland ; ** and I come to thi« 
conclusion on other grounds than those hitherto taken 
up. I do not think the exclusiveness can be justly called 
illiberal, for when the public of Scotland embraced a 
scheme for the support of native talent, their Associa- 
tion was the only society of the kind in Britain, and its 
success remained to be proved ; and I think that in 
deferring any change in its constitution which might 
endanger that success, that they have shown great 
wisdom and prudence. I think, however, that tbs 
time is now come when works frolnall pails of Britain 
may fairly be allowed to compete with those produced 
by Scotchmen, for we have now a noble field of retalia- 
tion in the Art-Unions of London, Dublin, Liverpool, 
&c., &c., all of which are open to all ; and while, by 
the admission of the works of our brethren of tbs 
south, our exhibition would be much improved and 
varied, any loss sustained by the purchase of their 
works would be amply compensated by a friendly re- 
ciprocity. If the contributors to our Association and 
their committee of management, could be brought to 
see that it would tend to their own pleasure and ad- 
vantage, as well as that of the Scottish artists, that 
competition should be open to all, they would not delay 
to invite others to partake of their ample fund, and 
then it would cease to be said in Scotland, that owing 
to the exclusive dealing of the Association, the works 
of Scotchmen are disadvantageous! y placed in tbs 
English exhibitions. England is the richer country, 
and, therefore, Scotland must gain by the reciprocity. 

I think that all the other objections that have been 
made to the working of the Association are referable 
to the last, viz., the imperfect constitution of the com- 
mittee of management : but here I must strongly con- 
tend for the principle of an acting committee; for 
manifold and great as their derelictions may have been, 
and many and great they were last year, they are small 
in comparison with what would have been the errors of 
the public of judging for themselves. I do not believe 
that undue partiality has ever been shown designedly ; 
leading members may have crotchets and fovourites, 
and indulge both; they may have sometimes been 
guided too much by names, and perhaps by motives of 
compassion and even charity ; but that they have ever 
acted from any unworthy motives esnnot from their 
station in society be believed. The great fault of tbs 
committee is, that it is too large and too small. It is 
too large because there are fifteen names, with a secre- 
tes y and firm of treasurers, among whom the responsi- 
bility is divided. It is too small, because of the whole 
committee very few act, and the few who attend the 
meetings have the power, without the responsibility, of 
the whole. Then it is wrong that the office-bearers 
should have a voice in the selection, for the secretary 
must always attend the meetings, and must thus ob- 
tain more weight in the decisions than any one member 
ought to have. In saying this, I am very for from im- 
pugning the judgment or fairness of the gentleman 
who holds that office, for I believe it to be good, and I 
should say much above the average, particularly last 
year. He may (being an architect) judge more by 
rule and square, more, in short, from skill and study, 
than from sentiment and feeling ; but in spite of much 
merit, he should not (on sccount of his position) bars 
a vote or voice. Then a rule which used to prevail la 




>y 



1849.] 


THE ART-UNION 


169 


the committee has hot been adhered to, via., that 
every member should go out after two years' service. 
There is now at least one gentleman who has been on 
the committee year after year for a length of time : to 
this I object, on the same ground that I object to the 
secretary. I think, with a good working responsible 
committee, the business would be conducted in a man- 
ner to satisfy all parties. Artists should not complain 
that their prices are reduced, when they have the re- 
medy so entirely in their own hands. They should 
publish a catalogue with the prices affixed, and they 
should make it a rule of exhibition that the price so 
affixed should not be reduced. This plan is surely 
simple, and would have the double advantage when un- 
derstood, of preventing artists from asking too much, 
and the committee from giving too little. The com- 
mittee should also be more open in their dealings, and 
invite the scrutiny and animadversions of the public, 
as persons holding a responsible trust for their behoof. 
They should lay aside every motive of encouragement 
but merit in the individual works, and 1 would pro- 
mise them the continued support of the public and 
entire approbation of the artists. I beg to subscribe 
myself, An Aetist. 

ART-UNION PRINTS. 

Sir,— A s various and loud have been the lamenta- 
tions expressed by several of the subscribers to the 
** Art-Union ” of London, concerning the bad impres- 
sions they have received of their plate, “ The Tired 
Huntsman,” allow me, through the medium of your 
journal, to offer a hint or two on the subject, to the 
serious attention of the committee of management. 

In the first place, I should utterly abolish the system 
hitherto pursued, of giving proof impressions of the 
plates as prises. When the Society was in an infant 
state, this measure might have been all very well, as it 
tended, to all appearance, to increase the number of 
prises, and give an importance to the drawing; but 
now, with a large and daily increasing list of subscrib- 
ers, of what possible use can it be, unless to take up 
the time of the meeting 7 

I should recommend instead, that the plan of the 
Scotch Society be followed in this respect, viz.— To 
give proof impressions of the plates according to the 
number of shares subscribed for. For instance, let a 
subscriber of three, four, or fire guineas be entitled to 
a proof before letters ; a subscriber of two or three 
guineas (as might be arranged) to a proof on India 
paper, and so on. 

In the second place, let the committee determine to 
deliver every copy of the engraving strictly in the order 
that subscriptions are paid in. This would induce an 
early payment of subscriptions, and grumblers would 
only have themselves to blame. 

These measures would, in my humble opinion, obvi- 
ate the inconvenience hitherto complained of, and 
largely contribute to increase the funds of the Society. 

Trusting these remarks may meet with your advo- 
cacy and support, I remain, yours, &c. 

March 15, 1842. A Subscriber. 

PROPOSED SOCIETY FOR PRODUCING FINE 
ENGRAVINGS. 

Sir,— T here are many lovers of Art (for instance, the 
Society of Friends) who object to lotteries; there are 
others who prefer certainty to chance, or who value 
first-rate engravings above cabinet pictures. 

Will you, as the Art-Union is now above all fear of 
injury from competition, allow me to suggest to any 
such persons among your readers, a plan by which I 
think their taste may be gratified, and the highest forms 
of the arts of painting anil engraving promoted. 

The society I would propose would be on the plan of 
the Granger, Shakspeare, and other such societies ; its 
whole funds to be appropriated to the production of a 
series of engravings for the benefit of subscribers. 

I should hope that such a society might raise enough 
to produce two engravings at least annually ; one from 
a painting by some one of the old masters, another 
from some good modern painting. Should they be 
able to procure a third , I would say, let it be from a 
painting by some foreign artist ; so that the works of 
our Continental brethren may be more known among 
us. Some degree of uniformity in the size of the en- 
gravings would give them the character of a series. 

Some portion of the funds, if ample, might be de- 
voted to lithographs, or to the cautious encouragement 
of new modes of Art, such as tinted lithograph, elec- 
trotint, &c. 

Should any of your readers enter into my views, I 
shall feel great pleasure in assisting to work them out, 
and for this purpose enclose my address. 

Yours, 4c. 

M. D — , Lee. 


REVIEWS. 

The Holy Land. Drawn by David Roberts, 
R.A. Lithographed by Louis Haohe. De- 
scriptive Letter-press by the Rev. George 
Croly, LL.D. Parts 2 and 3. Published by 
F. G. Moon. 

This really magnificent work bears out in its 
progress the promise of its commencement. The 
part before us contains six views — three, each 
filling the very large folio page, and three others 
as vignettes, bat oi a size sufficient to occupy the 
page of a very large volume. In the Second Part 
they follow m this order : * The Tomb of Zacha- 
riah/ 4 Valley of Jehoshaphat / ‘ Jerusalem from 
the South / 1 The Exterior of the Holy Sepulchre / 
4 The Pool of Bethesda / 4 The Tower of David / 
and 4 The Shrine of the Holy Sepulchre.* 

To sav that this is one of the most valuable 
works of its kind that has ever appeared, would 
be saying no more than what is known of it. As 
the joint production of men of the rarest qualifica- 
tions in their respective departments, it must be 
regarded as the ultimatum — the last and most per- 
fect pictured history of places held sacred by all 
sects of Christians — for nothing of the same Kind 
can be attempted after it. 

The first plate, 4 The Tomb of Zachariah,’ is 
one of the four monumental structures in the Val- 
ley of Jehoshaphat, and fe so called in allusion to 
him who 44 was slain between the temple and the 
altar.” The style of its architecture is a mixture 
of those of Greece and Egypt, possessing some- 
what of the classic elegance of the former, with 
the solidity of the latter. It is a block about 
twenty feet square, hewn out of the solid rock in 
such a manner as to leave a considerable space 
round it. The body of the tomb is about eighteen 
or twenty feet high, having at each of its sides two 
columns and two half columns ; the latter adjacent 
to square pillars at the corners and all having 
Ionic capitals. In the view, 4 Jerusalem from the 
South,* the city seems seated upon an eminence 
isolated from its 44 neighbour hills.** The light 
falls upon a part of the city, while the rest is in 
shadow, and in the latter portion the mosque of 
Omar is a striking object. The general tone of 
this plate does not exceed a middle degree, but it 
is worked up with a sweetness which nothing in 
lithography can ever excel. 4 The Exterior of the 
Holy Sepulchre,* presents a south view, from 
which ciuartcr only, pilgrims can enter the 
44 Sepulchre” as it is called — but which is in fact 
a very large church, the cupola of which is visible 
from most parts of the city ; although the lower 
exterior is hidden from a near inspection by the 
number of buildings that have in time clustered 
round it. With the exception of the facade, there 
is consequently nothing remarkable in the exterior 
of this mass of building ; but it is presented to us 
in the plate so as to give a separate interest to 
every part of the view, which has been taken 
from the top of a house whereon some Mussul- 
mauns are discoursing and taking coffee. The 
plate entitled 4 The Pool of Bethesda/ seems 
to have been taken from the outside of the walls, 
and the characteristic of Jewish architecture, the 
cupolas which form the roofs of the houses, are every- 
where visible. The 44 Pool,’* bearing this name, is 
supposed to have been a reservoir, and to have 
been so called by the early monks in their eager- 
ness to distinguish all places of the Holy City, by 
Scriptural names. At the time of Mr. Roberts* 
visit to Jerusalem there was water in it, and so it 
is represented in the plate, but it is frequently dry. 
We look down upon the Pool, and thence up to 
the domes and minarets of the city. The view is 
taken from the street leading to the great mosque, 
from the inclosure of which a minaret rises on the 
right of the view, near to which are some ruins 
supposed to be the remains of the town of Anto- 
nia, which was levelled by Titus during the siege, 
in order to carry on his works for the assault on 
the Temple. 4 The Tower of David* is a beauti- 
ful view of the famous citadel of modern Jeru- 
salem, consisting of an irregular assemblage of 
square towers, and standing on the north-western 
part of Sion, to the south of the Yoffa-gate. The 
fortress is defended by a solid sloping wall, which 
again is strengthened by a fosse. The wall is 
supposed to be of the time of Hadrian, and 
secures the place so as to render it ex- 
tremely difficult of capture. When besieged 
by the Crusaders, in the year 1099, this was 


the strongest part of the city, and here it 
was, that the garrison made their last stand. The 
most prominent part of the view is (hat part of the 
citadel called the 44 Tower of David” — a part of 
which is supposed to have been built by Herod, 
and left by Titus when he destroyed the other de- 
fences. 4 The Shrine of the Holy Sepulchre/ is 
a magnificent interior, and the throng that presses 
through the gates of the church, to present them- 
selves before it in weeping humility, is thus elo- 
quently described in the text : — 

44 But the gate is at last opened, generally after 
a delay which produces many a murmur, and the 
multitude, with the rush and roar of a torrent, 
bursts in. On entering the vestibule, the keeper 
of the porch, a Turk, is seen sitting, frequently 
with a group of his countrymen, on a richly coloured 
divan, smolring, and with coffee before him. But 
none pause there : the crowd pass on struggling, 
pressing, and clamouring. But, at the instant of 
their entering the grand dome, all is hushed ; in 
front of them lies the 44 Stone of Unction,” the 
crowd fling themselves on their knees round it, 
weep, pray, and attempt to touch it with their 
foreheads ; hands are seen everywhere clasped in 
prayer, or hiding their faces as if the object were 
too sacred to be gazed at ; tears are rolling down 
cheeks, and sobs are heard that seem to come 
from hearts overwhelmed with reverence and 
sorrow.” 

4 Jerusalem from the Mount of Olives.* — The 
city is here seen at a distance, and rises above 
the spectator, who must suppose himself on the 
slope of the mount. The buildings are seen in 
opposition to the light, which, falling upon the 
tops of some, relieves them effectually from the 
masses with which they mingle. The foreground 
of this plate is constituted of the acclivity of the 
Mount of Olives; and whatever be the modern 
aspect of Jerusalem, we are at least sure that the 
Mount of Olives is now as it was when 44 David 
went up the ascent of Mount Olivet, and wept as 
he went up” — and as when our Lord ascended it 
to meditate, to pray, and to prophesy. The 
Stone of Unction is presented with a most im- 
posing section of the Church of the Holy Se- 

{ mlchre. — The Stone of Unction, so called, is a 
ong slab of marble, but yet it is said that this is 
only a covering to protect the true stone from 
casualties — the true stone, which is said to be that 
whereon the body of our Lord was laid by Joseph 
of Arimathea and Nicodemus, when by them 
anointed preparatory to sepulture. 

4 Crypt or the lioly Sepulchre.* — This is an 
underground chamber, wherein Helena, the mo- 
ther of Constantine, is said to have discovered 
the cross on which our Saviour died. The vault- 
ing is supported by four substantial pillars, and 
the whole is dimly lighted by tapers ana suspended 
lamps. 

4 The Golden Gate.* — The substance of this vig- 
nottc is what would seem to be a tower in the 
walls of Jerusalem. Although called a gate, there 
is no access to the city, the entrance having been 
walled up. Like most other ancient buildings in 
the Holy City a strong iuterest attaches to it, as 
well in history os in tradition. It was found 
walled up by the Crusaders, but was by them 
opened once a year, by their being influenced by a 
belief that through it our Lord made his entry 
into Jerusalem as king. 

4 The Church of the Purification/ — A view taken 
from the rocks and precipices without the walls. 
The church, or more properly mosque, rises 
above the spectator, and from the masterly treat- 
ment of the plate, is made the prominent object 
of the composition. This fabric is supposed to 
comprehend the remains of the Great Church, 
erected by Justinian in honour of the Virgin Mary 
in the sixth century. It has been universally con- 
sidered by Oriental and Western Christians as a 
church dedicated to the Virgin Mary, and was by 
them called the Church of the Purification. 

4 The Upper Fountain of Siloara* is a re- 
markable example of the perfection of litho- 
graphy. The plate exhibits little save the dark 
descent to the waters of the fountain, but the 
transparency of the execution can never be sur- 
passed. — 

The Highland Whiskey Still. Painted by 
Edwin Landseer, R.A. Engraved by Ro- 
bert Graves, A.R.A. Published by Henry 
Graves and Co. 

This is one of the most valuable of the Landseer 



O 


170 THE ART-UNION. [*,«* 

series of engravings : its point does not tarn upon 
animal but human intelligence ; in his versions of 
which he is not less great than in his essays on the 
sympathies of animals. Between Mr. Landseer 
and the creatures that he paints there is evidently 
a show of good terms, of a perfect understanding, 
for which, perhaps, he may be indebted to some 
magnetic influence denied to every body else ; but 
independently of this he is fluent in the languages 
of animals. The man who in Gil Bias interprets 
the discourse of the birds is a mere tyro — he knows 
nothing else ; but Mr. Landseer seems not only to 
identify himself a citizen of the animal world, but 
he must have lived in the waters, and held court 
with the tribes of the air. However, the present 
engraving is not from an animal picture, although 
from one of the finest he ever painted. When we 
last noticed it, it was in an advanced state, but now 
it is finished, and in a manner to rank it as one of 
the best engravings of the day. From oppor- 
tunities we have had of examining the original 
picture, which is the property of the Duke of 
Wellington, we are well warranted in pronounc- 
ing it one upon which the author has bestowed an 
amount of care and finish, unsurpassed by similar 
qualities in any other werks of his we have ever 
seen ; and if thus to reproduce all the beauties of 
a picture, save those of colour, by means of en- 
graving be the ultimate excellence of that art, it is 
assuredly seen in this plate in its highest degree. 

The scene and all the circumstances of the com- 
position are met with in the heart of the High- 
lands. The former is a secluded nook, clearly in 
a rugged country, and so managed that little more 
of space is seen than what the figures occupy. 
There is no house, nothing even worthy of the 
name of a shed, although there is between the 
upper air and the head of the distiller a some- 
thing professing apology for a covering, but so 
rude that the air of discomfort had been less 
without it; and although, as an actual cover- 
ing, “ the better part of it were none at all,” it is 
of high price in the picture, describing admir- 
ably a niche in the mountain-side for the safe 
working of an illicit still far from the haunts of 
excisemen. W r ithin, then, and about this simple 
erection, are five figures, the still-man himself, an 
old woman (his mother, perhaps), two children 
(boy and girl), and a stalwart son of the moun- 
tain, whose limbs are developed to more than even 
Highland maturity, by having passed one half of 
his life in walking up hill ana the other half in 
going down hill. But he is only a visitor, the 
gamekeeper of the Tigheamach (Anglice, Chief), 
who having been long on the hill after venison, 
has paid a visit to the still for rest and refresh- 
ment. He wears the garb of the far north, and 
his shoulder is draped with the plaid ; he has cast 
himself down in the manner of a man wearied 1 
with the toil of sport, and is pronouncing an 
opinion on the liquor which he has just drunk, 
and which the old woman who stands by listening, 
has just handed to him. The graphic language 
which speaks out from every part of these two 
figures is the most eloquent in the vocabulary 
of the pencil, and the relation maintained between 
them is the real spirit of easy dialogue. The hunter, 
after having drunk the whiskey, holds the glass, 
turned down, carelessly between his fingers, while 
his lips move in the act of tasting; and he nods 
approbation slowly, but emphatically, while the 
eye of the old woman is fixed upon his counte- 
nance in wistful expectation. The distiller him- 
self is in shadow, under the roof already described, 
which although of little use in the reality, is 
admirably available in a picture. This figure in 
the original is thrown back into a deep and liquid 
shadow, the transparency of which is imitated in the 
engraving with the most perfect success ; in short, 
so feelingly has the engraver adopted the spirit of 
the artist, that no similar work of Art that we have 
ever seen coincides so entirely with the painted 
prototype. It has been three years in progress, 
a space far beyond what is necessary even for the 
greatest works of Art. Of such productions, a 
man, be his industry what it may, even during a 
long life, taking into account wear and tear Dy 
those', deeply-seated anxieties inseparable from 
such a profession, can hope to execute but few — 
a consideration which never strikes the many who 
are delighted with such a work as this — literally a 
travail of laborious years. This work must add 
to the already extended reputation of Mr. Graves. 
Whatever part of it we examine, the manner of 

the work is tempered to the nature of the object ; 
we can, in fine, pronounce it, with the most per- 
fect warranty, a work that alone would be^et a 
fame, as one of the best and greatest productions 
of our characteristic school of engraving. 

Waverley Novels. — Abbotsford Edition. 

Part III. Published by Cadell, Edinburgh. 

Of Waverley we are never weary, although jealous 
we might be of his being, in all that we know of 
him, illustrated less worthily than he was treated 
by Tully Veolan, or the noble Glengarry — we lay 
aside for this once the sounding Gaelic nom-rfe- 
guerre , Vich Ian Vohr. The engravings to this 
part are nineteen in number, the first of them 
oeing a 4 View of Holyrood, from the Calton- 
hiU, drawn by Stanfield, and engraved on steel 
by Miller. This is followed by an admirable 
wood engraving, 4 A Highland Feast/ at that part 
of it where the bhairdh of the clan is pouring 
fourth the 44 hidden song.” The chief sits listen- 
ing to the praises of the clans, with the Sassenach 
Duinh£-wassel fW averley) on his right. The 
twenty-second cnapter is accompanied by a fine 
head of an aged Highland minstrel, whom we may 
take for 44 Mac-murragh of the songs,” holding 
the cup presented to him by Vich Ian Vohr. On 
the rear of each chapter hangs a fragmental wood- 
cut, many of which are interesting, from their 
having been supplied fjrom the halls of Abbots- 
ford. About the beginning of the number there is 
a well drawn and well engraved target, garnished 
with a bunch of business-looking claymores, four 
of them by the wav, but with only two scabbards. 
May we believe that the sheaths of the other two 
were thrown away at Preston -pans ? 

This method of illustration is ingenious and 
happy, inasmuch as when w*e are at Glennaquoich 
we are continually reminded of Abbotsford. For 
ourselves we object not to be transported thither 
as it were by certain flourishes of the tool of the 
engraver (which, after all, is the real magician’s 
wand) , ever and anon to examine some relic formerly 
dear to the great genius of the place. This alter- 
native transport cannot be otherwise than agree- 
able to all ; it is an approach to the enchanted carpet 
of the Arabian Nights One of the landscape 
illustrations is 4 Lediard Waterfall/ whence it 
is supposed that Scott took the description of a 
cascade, which occurs in Waverley ’s walk with 
Flora in the neighbourhood of the castle. The 

4 Stag Hunt’ also supplies a subject, and just at 
the moment when the whole herd are about to 
charge down the glen over W T averley andMacIvor. 
One of the best engravings in the number is 

4 Glengarry / it is after Raeburn, and comes well 
up to the best idea of Feargus Maclvor. Other 
illustrations are — ‘The Highland Reel/ drawn by 
Kidd, and engraved by Slv ; 4 The Scene in the 
Smithy/ drawn by T. Sibson, engraved by J. 
Bastin ; 4 The Examination Scene/ drawn by 
Kenny Meadows, engraved by Folkard, &c. 

We have much pleasure in announcing that the 
present number is infinitely better than the first. 
This is as it should be, for if there be a difference, 
it ought to appear thus upon the credit side. 
There has been a want of a new edition of these 
novels, such an edition we will say as this, which 
cannot fail to recommend itself most extensively to 
the admirers of Scott, that is to the entire reading 
world. 

Distribution of the Art-Union Prizes at 
the Theatre Royal Drury-Lane, April 
26, 1842. By Thomas Allom, Eso. Pub- 
lishers, Ackerman and Co., 96, Strand. 

The above is the title of a very beautiful drawing 
on stone, representing the interior of the Theatre- 
Royal Drury-Lane, crowded as theatre never was 
crowded before, to witness the distribution of 
prizes, and to receive the report of the committee 
of the Art- Union of London. We referred to it 
incidentally in our last number, but cannot avoid, 
now that it is fairly before us and the public, to 
recommend it strongly to our readers, not merely 
as a record of a very gratifying and important day 
in the annals of Art, but as an intrinsically gooa 
drawing for the portfolio. It represents the mo- 
ment of declaring the name of the £400 prize- 
holder, and gives a most vivid notion of the uni- 
versal excitement which prevailed through the 
large multitude there assembled. The chairman, 
raised above the other figures, the honorary secre- 
taries, at either end of the centre table, the ladies 

at the wheel, and the side tables filled with the 
gentlemen of the press and the scrutineers, all hare 
their place in the picture, and serve to convey at 
once, to all who see it, the manner of conducting 
the drawing, and the excellence of the arrange- 
ments which were made. The production of tliis 
drawing by an artist like Mr. Allom, although it 
cannot but add to his reputation, is a compliment to 
the conductors of the Association, of which they 
may be proud. The drawing is executed in tiro 
tints, and is dedicated to the president, committee, 
and members of the Society, by whom especially 
there can be little doubt it will be purchased 

largely. 

First Additional Supplement to the En- 
cyclopedia of Cottage, Farm, and Vilj-a 
Architecture and Furniture. By J. C. 
Loudon, F.L.S. Publishers, Longman & Co. 

Mr. Loudon’s Encyclopedia of Cottage, Villa, and 
Farm Architecture, contains undoubtedly, the 
greatest amount of information on this subject tliat 
is any where to be found, and has effected more 
good than could be shortly stated. Since its 
appearance the dwellings of our farm-labourers, 
especially in the north, nave been entirely chanced 
in construction ; landed proprietors have been led to 
see the powerful effect on character which is pro- 
duced by a man’s residence; and moreover, as re- 
gards their own dwellings, have learned that taste is 
not expensive, and that an elegant and commodious 
structure, wherein ventilation, heating, aspect, and 
general fitness have been considered, costs little 
more than one in which none of these things have 
been regarded. 

The supplement now before us is a valuable 
addition to the original volume, and should be ob- 
tained by all who possess the latter. It is arranged 
under the heads of — 1. Cottages for Labourers ; 2. 
Cottage-Villas and Villas ; 3. Farmeries ; 4. 
Schools, Public Houses, and Union Workhouses; 

5. Construction and Materials ; 6. Fittings up ; 

7. Hints to Proprietors desirous of improving 
their Estate. Many of the designs (of which their 
are 300) are exceedingly clever, especially a series 
by Mr. E. B. Lamb, m various styles of architec- 
ture, as applied to moderate sized villas, and to which 
the author has appended some valuable observations. 
Summing up the marked differences of the styles 
generally, Mr. Lamb remarks of the Italian : 44 The 
distinguishing character of the Italian style I have 
adopted, is great breadth of effect, by masses of 
blank walls contrasted with richly decorated open- 
ings, which latter are frequently curved, combining 
with the horizontal lines in roofs and terraces; 
columns of different orders placed over each other 
and only used the height of each story ; arches used 
between ’columns, and constructed with several 
stones ; small stones generally used in the con- 
struction ; and internally coved ceilings coffered ; 
arches rising from imposts, great richness in the 
sculptured foliage, and generally much variety of 
form and masterly execution ; a frequent applica- 
tion of colouring and fresco-painting ; statuary 
more varied in form, but not blending with the 
architecture so well as in the Grecian edifices. In 
a general view, the Italian manner possesses more 
appearance of comfort and pictorial effect, but 
less sublimity, than the Grecian, and its forma are 
more readily applied to modern architecture. 

Two Letters to an Amateur, or Young 
Artist, on Pictorial Colour, &c. By 
Robert Hendrie, Esq. Simpkin, Mar- 
shall, and Co. 

This work opens with five certainly very important 
recommendations to the student — the proposed 
positions of the highest light and the deepest 
shadow — the extent and degree of the general 
light prevailing throughout the composition — the 
depth and form of the shadows with reference to 
objects — the colour of the principal light as affecting 
all the objects upon which it will breax ; and, lastly, 
the positive hues of objects as affected by the cir- 
cumstances of the composition. These 44 Letters” 
contain many excellent precepts, than which none 
is more valuable than that which inculcates an 
avoidance of that kind of finish which fritters away 
the breadth and importance of the masses of a 
picture. The author instances the beauties of 
Turner, and other famous artists of our school, as 
also the chief merits of many of the early painters. 
The work concludes with recipes for painting the 
various diurnal effects ; and would be found by the 
amateur a valuable auxiliary. 


Digitized by 5ogie 




1842 .] 


THE ART-UNION. 


Lieut.-Gen. Sir Hugh Gough. Engraved by 
J. Jackson. Publishers, Graves and Co. 

A capital likeness of the gallant Commander-in- 
chief of her Majesty’s forces in China ; and, 
therefore, a print that will be welcome to all who 
know him, and to a very large number of 44 the 
Army,” and also “ the Public,” who are watching 
his career with no little anxiety, but with great 
confidence in his activity, ability, and firm cou- 
rage. The print is, however, especially curious 
and interesting, as being engraved from an origi- 
nal painting by a Chinese artist. The skill of the 
Chinese is notorious in copying literal facts; 
luckily for the brave officer, he had no pimple on 
his cheek at the time of sitting, or it would surely 
have been in ^he picture. We recollect a story of 
a lady who once sent to China a drawing, neatly 
! and carefully made, with directions to have it co- 
pied upon a dinner service; in the middle was her 
family coat of arms, and directly under was writ- 
ten in good round hand the words 44 keep this in 
the middle.” The order was executed, and the 
service duly sent to England : when the case was 
opened, guess the lady’s horror to find a tran- 
script of her own handwriting upon every plate 
and dish, in illegible characters — the words 44 keep 
this in the middle.” 

An Easy Introduction to Perspective and 
Sketching from Nature. By John Carr 
Burgess. Published by Simpkin and Mar- 
shall. 

In teaching drawing, a knowledge of perspective 
cannot be too strongly insisted on as indispensable 
to facility and accuracy ; yet, notwithstanding the 
fact that an acquaintance with it is as necessary in 
the art of design, as an attention to mathematical 
precision in the erection of the edifices which 
perspective enables us to delineate — we meet with 
drawings continually, even works of merit, abound- 
ing with errors from a want of due study of this 
essential acquirement. The little treatise before 
us, consisting of only twenty-six pages, contains 
eleven plates illustrative of linear and aerial per- 
spective, but dwelling, of course, especially upon 
the former ; and a series of rules so plain and 
intelligible that as much may be gathered from it 
as from many much larger volumes. The chapter 
on Sketching from Nature, is brief; the author 
judiciously points out the utility of a little practice 
in the use of the pencil before attempting to draw 
from nature, and all artists must subscribe to the 
opinions he expresses. The plates exemplify a 
firm and free style of sketching, which might be 
followed with the best results. 

FOREIGN PUBLICATIONS CONCERNING ART. 

Il Costume Antico e Moderno o Storia del 
Governo, della Milizia, della Reli- 
gions, DELLE ArtI, SciENZE, ED USANZE Dl 
tutti i Popoli Antichi e Moderni fro- 
vata coi Monumbnti dell’ Antichita 
dal Dottork Qiulio Ferrario. London: 
Rolandi. Milano, 15 tom., folio, 1815—19. 
Works of this description are of great importance 
to all those who desire to obtain an accurate know- 
ledge of the costume, habits and manners, progress 
of Art and literature exhibited by nations in their 
career.. They detail the history or human nature in 
the social state, and of its gradual advancement from 
rudeness to refinement. Thus investigations of this 
kind, if conducted aright, unfold principles of the 
highest importance to mankind in every condition, 
and furnish rules by which we may judge of the 
wisdom or folly of the systems and measures 
adopted in that state of society under which we 
live. For a correct idea of how far the habits and 
manners of a people are affected by climate, in- 
fluenced by government, or formed by religion, we 
can acquire only by the assiduous examination of 
facts obtamed, not from the records of one period, 
but fro in many, and from the extensive observa- 
tion of those external and internal causes, which 
so greatly operate in the creation of opinion. 
International intercourse has so much advanced 
of late years, that by the natural proneness 
towards noveltv, and desire to adopt extraneous 
customs, which may confer a momentary dis- 
tinction, together with the more general equali- 
zation of wealth; many of those habits and manners 
incidental to. a stricter division of castes ; or dating 
from the Oriental influence over the Western Em- 
pire, and the laws of the feudal system; have 


become obliterated. Yet it is pleasing to trace the 
origin of many customs yet existing; or which 
were once marked features in the social life of 
antiquity. Thus in Greece we observe traces of 
many ceremonies peculiar to the Jews ; and even 
the Irish wake may derive its origin from the 
Greeks, when bewailing their dead with tears, 
repeating the interjection < c c c , from whence, if 
we may credit the scholiast upon Aristophanes, ! 
funeral lamentations were called tXtyot, elegies. 
Books, such as the one now under consideration, 
and 44 Mey rick's Ancient Armour,” &c., are also 
of great value— first, as supplying to our school of 
Art correct data for costume particularly important 
for historical painting; secondly, as they illus- 
trate many passages of classical literature; and 
even a philologist may extract matter of interest 
from their pages. Thus, from the circumstance 
of the standard-bearers of the Venetian army 
wearing tight hoee t that kind of dress came to be 
called 44 pantaloons,” a corruption of 44 pianta 
leone,” i. e. plant the lion— the standard of the 
republic being the 44 Lion of St. Mark.” The 
artist's palette is, quasi 14 epaulette,” a term origi- 
nally given to the circular plates worn to protect 
the shoulders of the knights in panoply. 

To conclude ; the work, which forms the subject 
of this notice, must not be considered as solely 
applied to the illustration of the manners, habits, 
and customs of the nations it embraces on its 
design. It is a vast repertory of facts in the 
Arts, laws, literature, and social life of ancient and 
modern empires. It is compiled from the best 
authors ; and although we regret the plates are not 
finished in the style of other more recent works, 
yet they are fully sufficient, are very numerous, 
nor is it easy to conceive they could have been 
produced in a more embellished manner, without 
an outlay materially enhancing the expense of this 
most extensive undertaking. 

TO CORRESPONDENTS. 

We crave the indulgence of our correspondents until 
next month, when the communications of all shall be 
duly replied to. 


BOOKS PUBLISHED THIS DAY 

I BY 

HOW AND PARSONS, 

133, FLEET-STREET. 

T HE PALFREY. A Love Story of Old 
Times. By Leioh Hunt. 

With Six Illustrations by A. Clint, J. Franklin, Kenny 
Meadows, and W. B. Scott. 

8 vo., price 5s. 

The Palfrey goes, the Palfrey goes, 

Merrily well the Palfrey goes: 

He carrieth laughter, he carrieth woes, 

Yet merrily ever the Palfrey goes. 

T he sal a" ’m a n d r i n e ; 

or. Love and Immortality. 

A Romance. 

By Charles Mackay, Esq. 

HI. 

B elgium since the revolution of 

1830, comprising a Topographical and Antiqua- 
rian Description of the Country ; and a Review or its 
Political, Commercial, Agricultural, Literary, Religious, 
and Social Relations, as affecting its present condition 
and future prospects. 

By the Rev. W. Trollope, M.A. 

Postsvo., with Map, 10s. 6d. in cloth. 

*»* This volume will form a ready guide to every 
object of interest in Belgium. 

IV. 

In small 4to., with a beautiful Wood Engraving on 
each page, price 5a., Part II. of the 

B ook of British ballads. 

Edited by S. C. Hall, Esq., F.S.A. 
Containing— 

The NUT-BROWN MAYD continued; illustrated 
by Creswick, Williams, and Scott. 

The CHILD of ELLE; illustrated by Franklin. 

The TWA BROTH ERS ; illustrated by Frith. 
KEMPION ; illustrated by Scott. 

The BLIND BEGGAR; illustrated by Gilbert. i 

I RELAND: ito' SCENERY and I 
CHARACTER. By Mr. and Mrs. S. C. Hall. { 
Part XXL. with highly finished Engravings on Steel 
and Wood, and Map, price 26s. 

E NGLAND in the NINETEENTH 
CENTURY: NORTHERN DIVISION — LAN- 
CASHIRE. Part VII., with Illustrations, price 2s. fid. 
(This County will be complete in Eight PRrts.) 


MILLER’S SILICA 
COLOURS. 

The daily increasing patronage bestowed on these 
Colours by Artists of the first eminence, while it is 
gratifying in the highest degree to the inventor, is, at 
the same time, an acknowledgment of the soundness of 
those principles upon which they are manufactured. 
It will be sufficient to repeat that, being composed of 
substances identical or similar to those used by the old 
masters (the brilliancy of whose works, after the lapse 
of centuries, is an iuconteatible proof of the superiority 
of ancient colouring). The Silica Colours will ever 
retain their freshness, transparency, and gem-like 
lustre uninjured by atmospheric influence and unim- 
paired by time. 

The SILICA OIL COLOURS are prepared in col- 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of au order, for any of 
the tinder-mentioned tints, viz. : 

Pale and Deep Red. 

PWe and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK’S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium, having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Modern School; 
namely, the destructive effects of Varnishes, Oils, and 
M‘guelps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured; whereat 
those painted with the Glass Medium have a most 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glaee Medium in Bottles, 

No. 1. For first and second painting. 

No. 2. For robbing up powder colours with. 

No. 8. For third painting, finishing, and glazing, and 
for mixing with colours already prepared in oil. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s Florentine Oil. 

T. MILLER, being the original preparer of this In- 
valuable Medium, has the honour of supplying the 
President and Members of the Royal Academy. 

The SILICA WATER COLOURS are prepared in 
small squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colours, at 
present in use ; and can be forwarded per post to any 
part of the country, on receipt of an order fbr any 
of the above-mentioned tints. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and for 
enabling the Artist to repeat his touches without dis- 
turbing the colours already laid on, has been long 
sought after ; this new vehicle possesses all these ad- 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints unin- 
jured; in durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Glass Medium in Bottles, 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

T. Miller respectfully directs the attention of those 
artists and amateurs who have not had an opportunity of 
witnessing the gem-like lustre of the Silica Colours and 
Glass Medium to a picture painted by E. Corbould, Esq., 

4 The Woman taken in Adultery,’ No. 66, in the present 
Exhibition of the New Water Colour Society, 53, Pall 
Mall, and lately purchased by H.R.H. Prince Albert, 
for two hundred guineas. 

MILLER’S Artists’ Colour Manufactory, 

66, Long Acre, London. 


Digitized by 



172 


THE ART-UNION, 


[July, 184%. 


It ia with the highest feelings of gratification Mr. BOYS is enabled to announce the splendid Original whole>length Portrait of 

H. R. H. PRINCE ALBERT, K. G. etc. etc. etc., 

IN HIS FIELD MARSHAL’S UNIFORM. 

JUST PAINTED FROM LIFE BY JOHN LUCAS, ESQ. 

TO BE ENGRAVED BY SAMUEL COUSINS, ESQ., A.R.A., IN HIS UNRIVALLED STYLE, 

AS A COMPANION TO CHALON’S LARGE STATE PORTRAIT OF HER MAJESTY. 

Price to Subscribers, previous to Publication: First Proofs, before Letters, £8 8s..... Lettered Proofs, £5 Ss.. ... Prints, £2 3s. 

NOW READY, 

LONDON AS IT IS: ‘ 

DRAWN BY THOMAS SHOTTER BOYS, 

WITH DESCRIPTIVE AND HISTORICAL NOTICES OF THE VIEWS, IN ENGLISH AND FRENCH, BY CHARLES OLLIER. 

Price, Imperial Folio, printed with Sepia tints, £4 4s., bound ; a few Copies, coloured by hand, and mounted in a Portfolio, £\0 10s. 

“ This is the most important and meritorious work that has ever yet appeared, as a series of Views in the Metropolis of Great Britain.”— Jr/ Union. 

“ The fidelity and spirit of his work will be apparent to every one.”— Spectator. 


THE ORIGINAL WHOLE-LENGTH PORTRAIT OP THE 

RIGHT HON. SIR ROBERT PEEL, BART., M.P. 

Just Painted by JOHN W. WALTON, Esq., taken from Life. Engraved by C. E. WAGSTAFF, Esq. 
u The likeness is a rood one; the attitude is characteristic of the original ; and the whole is spirited and full of life.” — Time t. 

“ This portrait is highly characteristic of Sir Robert, and conveys to the spectator a just impression of the dignity and manliness of the gifted original. The coun- 
tenance ia most admirably pourtrayed, and is really a ‘ speaking likeness/ full of frankness of expression and high intellect.” — Standard , 


i ia most admirably pourtrayed, and is really a * speaking likeness/ full of frankness of expression and high intellect.” — Standard, 

Sire 21 Inches by 32 Inches high. — Price to Subscribers. 

First Proofs before the Letters, on India Paper £5 5 0 To be advanced, immediotely, to 

Proofs with the Letters 330 Do. Do. 

Prints .. .. .. 1 11 fi Do. Do. 


£6 6 0 
4 4 0 
2 3 0 


THE TRIAL OF THE EARL OF STRAFFORD, 

FROM THE LARGE HISTORICAL PICTURE PAINTED BY WILLIAM FISK, ESQ., 

Is just completed.— The Country Trade are requested to send their Orders immediately to Mr. Boys, or to their usual London Agents. 


LONDON : THOMAS BOYS, PRINTSELLER TO THE ROYAL FAMILY, 11, GOLDEN-SQUARE, REG ENT- STREET. 


P ERSPECTIVE and DRAWING MODELS 
for TEACHING ELEMENTARY PRACTICAL 
PERSPECTIVE DRAWING, LIGHT and SHADE, 
See. Acknowledged, generally, as the best possible in- 
troduction to Landscape Drawing upon certain princi- 
ples. Being composed of Geometrical and separate 
Pieces, are capable of many hundred variations. Illus- 
trated and complete in box, price £\ Is. 

C. SMITH’S ARTISTS’ REPOSITORY, 34, MARY- 
LKBONK -STKEKT, QUADRANT. 

P ARLOUR'S PATENT DELINEATOR.— 

This beautifal Instrument, having been greatly 
improved and simplified by the Patentee, is now of- 
fered to the public in its present portable form, at the 
reduced price of £2 3s. It is universally allowed to be. 
infinitely superior to the Camera Lucida for the pur- 
pose of Drawing or Sketching from Nature.— Manu- 
factured and sold, wholesale and retail for the Paten- 
tee, by his Agents, Messrs. REEVES and SONS, 150, 
Cbeapside, London ; and may be had of all Opticians, 
Stationers, or at Artists’ Repositories. 

T O MINIATURE PAINTERS, &c. — W. 

WARRINER, 39, GREAT CASTLE-STREET, 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatingly 

C ironist t him ; begs further to inform them that lie 
s a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captain* of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

P OOLOO'S CHINESE CEMENT. — The 
extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
best. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending Chins, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at Is. fid., 3s. Cd., 4s. fid., and 7s. Cd., 
by the Proprietor’s sole agents, B1DFELD and Co., 
Cutlers and Kazormakers, 0, Middle-row, Holborn ; and 
by their appointment, at the principal Chemists and 
Perfumers. BLOFELD’S London made Table Knives, 
at BLOFELD and Co.’s, «, Middle-row, Holborn. 


T HE MAGAZINE of FINE ARTS, and 

Miscellany of Science and Amusements, pub- 
lished every Saturday, price l|d., and in Monthly 
Parts, 7d., with numerous Woodcuts : containing in- 
structions in all the various styles of Painting, Draw- 
ing, Engraving, Colouring, Lights and Shade, Design, 
Composition, Perspective, Lithography, Miniature 
Painting, &c., and all subjects connected with the 
above. A Biographical Dictionary of Painters, Sculp- 
tors, Ac., valuable receipts, the most recent scientilic 
discoveries, amusing experiments, reviews, galleries of 
j»irddngs, exhibitions, Ac. Farts I. and II. juat pub- 

W. Strange. 31, Paternoster-row; and T. Sloper, 11, 
Ed ward-street, Portman- square; and all Booksellers 
and News Agents. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M’LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part of the kingdom. 'Hie 
Trade supplied with Frames in the Compo. Fancy, 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery. — All goods taken back, not approved of in 
three months. 

C HIMNEY GLASSES, PICTURE 
FRAMES, CHEVAL and TOILET GLASSES, 
CONSOLE TABLES, WINDOW CORNICES. 
SCREENS, and every department of CARVING ana 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 
WORKING CARVER and GILDER, 19, ST. MAR- 
TIN’S -COURT, St. Martin’s-lane.— P. G. manufactur- 
ing every article on the premises, is thereby enabled to 
offer them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of chsrge. A list of the 
prices of Plate Glass, Sic . sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on hand, at reduced 
prices. 


T O be LET, at No. 44, BERNERS-STREET, 
OXFORD-STRBET, an ARTIST’S PAINTING- 
ROOM, with one or two Bed-rooms, and an Ante-room 
attached, which have recently been built for a Portrait 
Painter. 

ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFOliD, 45, FLEET-STREET, 
• comer of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegaut Patterns, the Size and Prices attached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. ■ Orders from the country punctually at- 
tended to. ESTABLISHED 1793. 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN'S COLLAPSIBLE METALLIC 
TUBE8, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, Sec .— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligat ions— he, his father, and his predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for yean, even in wane, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
lfi3. HIGH HOLBORN, London. 

N.B. — The Trade are respectfully cautioned from 
dealiug in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have tbs 
words “ BROWN ’8 PATENT ” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 


I^ndon t— Printed at the Office of Palmir and Clayton, 10, Crane Court, Fleet Street, and Published by How and Parsons, Its, Fleet Street,— J uly i, 1948. 



THE AKT-UNION. 


PAINTING 

SCULPTURE 

ENGRAVING 

ARCHITECTURE 

&C. &C. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. Ac. Ac. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 43. 


LONDON: AUGUST 1, 1842. 


Price If. 


THIS JOURNAL BRING STAMPED , CIRCULATES , POSTAGE FREE TO ALL PARTS OF THE UNITED KINGDOM. 


R oyal commission of 

FINE ARTS. Whitehall, July 22nd, 1842. 
The Commissioner* appointed by the Queen for the 
purpose of inquiring whether advantage might not be 
taken of the rebuilding of the Houses of Parliament for 
promoting and encouraging the Fine Arts,— referring 
to the notice issued by them on the 23th of April last, 
respecting a competition in Cartoons, have resolved 

1. That the time therein specified for sending in the 
fi nished Cartoons be extended from the first week in 
May to the first week in June, 1843. 

t. That foreigners, practising the Arts, who may have 
resided ten years or upwards in Great Britain, l>e con- 
sidered a 9 coming under the denomination of “ British 
Artists.” 

3. That no frames to the Cartoons offered for compe- 
tition be admitted. 

4. That the Secretary of the Commission be em- 
powered to give such further explanations as may be 
required relative to the terms of this and of the former 
public notice. By Command of the Commissioners, 

C. L. EASTLAKE, Secretary. 

BRITISH INSTITUTION, PALL MALL. 

T HE GALLERY, with the WORKS of the 
late Sir David Wilkie, R.A., and a Selection 
of Pictures of the Ancient Masters, is Open Daily, 
from Ten in the Morning until Six in ihe Evening.— 
Admission. Is.: Catalogues, Is. Wm. Barnard, Sec. 


N OF WEST OF SCOTLAND ACADEMY OF THE 
2 nd 1842 I FINK ARTS, 

leen for the i HPHE SECOND ANNUAL EXHIBITION 
:_ht nnt h. 1 of the WEST OF SCOTLAND ACADEMY for 
igni noi oe xhe WORRS of UV ING ARTISTS, will open in 
liament for September next, in the DILETTANTI BUILDINGS, 
referring 5 ^ Buchanan-street. 

' April last, No carriage or expenses will be paid by the Academy 
resolved except on works sent by those artists to whom the 
iding in the Exhibition circular has previously been forwarded. 

Li ; n The 17th of September the last day for receiving 
rat wees in pictures. By order of the Council, 

J. A. Hutchison, Secretary. 

10 may have Glasgow, July 1 , 1842, Committee Rooms, 
ain, 1 m? con- 68 , St. Vincent-street. 

Brituh jrr ES T OF ENGLAND AKT-UNION.— 
for conn*. *T A finished ETCHING of the beautiful PRINT 
now engraviug, by Mr. Kyall. for this Art-Union, may 
. lie seen at either of the local Secretaries,* who will con- 

on be em- tinue to receive Subscriptions until the end of August, 
as may be Subscription Half-u-Guinea. 

’ the former The drawing for Prizes will take place at a Public 
issioners, Meeting, to be held in Plymouth, the first week in 

1 8gCreUry ‘ * Prizes to be selected by the Prizeholders, from either 
~~ of the Exhibitions in Plymouth or Exeter, or from the 

Polytechnic Exhibition, Falmouth. 

°* V 1 * Subscriptions received at the Devon and Corn- 
a Selection wall Banking Company, Plymouth, or at any of its 
(pen Daily, Branch Offices; by Mr. E. Fry, Honorary Secretary 
Evening.— f or Flymouth ; or by any of the following Gentlemen, 
vard, Sec. w h 0 have consented to act as Local Secretaries: — 


W ILKIE STATUE.— At an ADJOURNED 
MEETING of the Committee, held at the 
Thatched-liouse Tavern, St. Jamcs*s-street, on SATUR- 
DAY, July 2 , 

The Right Hon. Sir R. PEEL, Bart., M.P., in the chair, 
it was resolved, 

That a sub-committee be appointed, under whose 
superintendence the Statue shall be executed, and that 
such committee consist of the following members :— 
Sir Thomas Baring, Bart. Peter Laurie, Esq. 

His Grace the Dukeof Buc- Viscount Mahon, M.P. 
John Burnet, Esq. [clench Hon. W. Leslie Melville 
Sir A. W. Callcott, It A. Sir Moses Montefiore 


who have consented to act as Local Secretaries: — 
London, Messrs. Ackermann, Strand; Messrs. Reeves, 
Cheapside: Mr. G. Row ney, Rathbone- place; Devon- 
port, Mr. W. Byers; Truro, Mr. P. Mitchell; Ilfra- 
combe, Mr. Lammas ; Teignmouth, Mr. E. Croydon ; 
Torquay, Mr. Elliot, Bookseller; Wadebridge, Mr. 
Saunders; Stonchouse, Mr. E. W. Cole: Weymouth, 
Mr. B. Benson; Tavistock, Mr. Rohiohns; Bristol, 
Messrs. Philp and Evans; Barnstaple, Mr. Thomas 
Ilearson; Bath, Mr. Everitt; Falmouth, Messrs. Lake; 
Exeter, Mr. W. Roberta, High-street; Taunton, Mr. 
James Barnicott ; Devizes, Mr. Ward ; Liskeard, Mr. 
Jago; St. Austell, Mr. Parsons ; Fowey, Mr. Lane. 


Sir A. W. Callcott, R.A. 
Allan Cunningham, Esq. 
Peter Cunningham, Ewj. 
Henry Haibun, Esq. [M.P. 


Sir Moses Montefiore 
Sir W\ J. Newton 
Thos. Phillips, Ksq., R.A. 
Samuel Rogers, Esq. 


T HE ART-UNIONS OF GERMANY.— 

UNDKR THE PATRONAGK OP 

His Royal Highness the Duke of Sussex, 

His Royal Highness the Duke of Cambridge, 

And the Nobility. 

BERLIN, DUSSELDORF, and DRESDEN. 

The Subscription List to the Art- Union of 
Diisseldorf will close on SATURDAY, the 13th of 
August. 

The price of the Subscription Tickets in either of the 
above Associations, will be 20s. each, which will en- 
title the holder to one copy of the annual presentation 
Engraving, which will be delivered immediately after 
the drawings, free of duty and carriage, and also the 
chance of obtaining a Work of Art, value from 4 10 
to Jtrsoo. 

The Engravings, which from the first establishment 
of these Societies have formed the presentation Prints 
to each Subscriber, and which are executed in the very 
first style of Art, are exhibited daily at the German 
Repository, 9, Newman-street, Oxford-street, between 
the hours of Nine and Six. 

A Prospectus detailing the plans of management of 
the German Art-Unions, and explanatory of the advan- 
tages afforded to the Subscribers, cau be obtained or 
forwarded free, upon application to 

Henry Hkring, Sec. for the United Kingdom, 

9, Newman-street, Oxford-street, London. 


GERMANY.- 


Henry Haihun, Esq. [M.P. Samuel Rogers, Esq. 

Right Hon.H.Laboucbere, | Sir M. A. Shee, P.K.A. 
Edwin Landseer, Esq., R. A I His Grace the Duke of 
Sir Peter Laurie | Sutherland 

The committee then proceeded to select the artist, 
and at the dose of the ballot the scrutineers reported 
the numbers to be:— For Mr. Joseph, 26; for Mr. 
Campbell, 13 ; for Mr. Baily, 5 ; for Mr. Watson, 3; for 
Mr. Weekes, 2; for Mr. Lough, 0: for Mr. Marshall, 0; 
when the chairman declared the election to have fallen 
on Mr. Joseph. 

The Committee have great satisfaction in stating that 
the Trustees of the National Gallery have acceded to 
the request of the subscribers, that the statue be placed 
in the Inner Hall of that Gallery. 

Allan Cunningham, Hon. Sec. 

Peter Cunningham, Assist Sec. 

Subscriptions (to be sdvertised) continued to be re- 
ceived by Sir Peter Laurie, and Peter Laurie, Esq., 
Joint Treasurer, 7, Park-square; Allan Cunningham, 
Esq., Hon. Secretary; and Peter Cunningham, Esq., 
Assist. Secretary, 27, Lower Belgrave-place ; ihe Union 
Bank of London, 8 , Moorgate-street ; 13, Argy 11-place : 
4 , Pall-mall East: Messrs. Coutts and Co., Strand ; and 
Messrs. Smith, Payne, and Smiths, Mans ion -house- 
street. 


Now ready, for the Sketching Season, 

S HADE’S NEW PATENT PERSPECTIVE 
DELINEATOR sncl SKETCHING APPA- 
RATUS ; by means of which Landscapes and all other 
objects can be drawn in true Perspective, with the 
utmost farility, without failure, aud with the same ease 
as writings letter. 

Also, SHADE’S PATENT METALLIC SKETCH- 
ING SEATS, combining the usual strength with a 
tenth part only of their bulk and weight. 

Sold at SMITH and WARNE’S, ARTISTS* REPO- 
SITORY, 34, MARY LEBOXE-STRKET, QUADRANT, 
LONDON. 

T O MINIATURE PAINTERS^ &c— W. 

WARRINER, 39. GREAT CASTLE STREET. 
REGENT-STREET, Mannfacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, aud patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return hit sincere thanks 
to those Artists and others who have nndeviatingly 

E atroniseri him ; begs further to inform them that lie 
as a variety of new patterns, which, for quality and 

£ rice, defy all competition. A great variety of Mata, 
ases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

Just published, in 4to., price 4 2 2 s., in French boards, 
ana on royal paper; with proof impressions of the 
Plates, price 44 4s., half morocco, gilt tops, 

D iscourses delivered to the students 

of the ROYAL ACADEMY, by Sir Joshua 
Rbynold*. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnbt, F.R.S., Author of 
“ Hints on Painting,” in 4to., price 44 10 s. 

James Carpenter, Old Bond-street. 

Just published, in royal 4to., price 41 5s. bound, 

R ustic architecture— 

PicTUKKsauB Dbcouations or Rural 
Buildings in the Usb of Rouoh Wood, Thatch, 
&c. Illustrated by Forty- two Drawings,; consisting 
of Plans, Elevations, Sections, and Perspective Views ; 
the Doors, Windows, Chimney Shafts, &c. ( drawn 
geometrically to a large scale; with descriptions and 
estimated costs. By 1. J. Ricauti, Architect. 

“ We have repeatedly and strongly recommended this 
elegant and useful work, and can safely say, that we 
think no gentleman who purchases it will be disap- 
pointed.”— Loudon’s Gardener’s Magazine. 

James Carpenter, Old Bond-street. 

Published in 4to77 Price 44 10s. in French - Board* ; 
and on Royal Paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, Priced? 7 s., 

A TREATISE ON PAINTING. la Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Dutch, and English Schools: and 
WoodCuta. By JOHN BURNET, F.R.S. 

1 . On the EDUCATION of the EYE. Second Edi- 
tion. Price 41 5a. 

2. On COMPOSITION. Fifth Edition. Price 15s. 
in boards. 

3. On LIGHT and SHADE. Fifth Edition. Price 
18s. in boards. 

4. On COLOUR. Fourth Edition. Price jffl 111 . «d. 
in boards. 

This work is particularly recommended to tbe Stu- 
dents in Art in the New Edition of the Encyclopedia 
Britannica— See the article on Drawing. 

James Carpenter, Bond-street. 




1842 .] 


THE ART-UNION 


175 



1. KATIOKAL MONUMENTS AND WORKS OV ART 175 
% PAINTING AND SCULPTURE 176 

3. A TOUR FOR THE ARTIST 178 

4. THE ARTS IN CONTINENTAL STATES : 

ITALY ; FRANCE’, PRUSSIA } COLOGNE { 

RU88IA 180 

5. ON THE MISERIES AND INCONVENIENCES 

OF PORTRAIT PAINTING 180 

6. ART-UNION OF LONDON 181 

7. ROYAL IRISH ART-ONION 181 

8. mr. hawkins’s drawing models .. .. 183 

9. ART IN THE PROVINCES 182 

10. CLAY FOR MODELLING 184 


11. VARIETIES: 

ROYAL COMMISSION 07 7INE ARTS; 

THE ROYAL ACADEMY; THE LATE 
JOHN CONSTABLE, R.A. ; THE WILKIE 
STATUE; HER MAJESTY'S BAL COS- 
TUME; ARTISTS' GENERAL BENEVO- 
LENT INSTITUTION ; MEDAL TO COM- 
MEMORATE THE BAPTISM OF THE 
PRINCE OF WALES ; MURILLO; CARV- 
ING IN BOG-OAK; GREENWICH HOSPI- 
TAL; WESTMINSTER ABBEY; OPEN- 
ING PUBLIC MONUMENTS; NEW EX- 
HIBITION AT THE ADELAIDE GAL- 
LERY; ROYAL ADELAIDE GALLERY; 

THE TEMPLE CHURCH; PHOTO- 
GRAPHIC PORTRAITURE ; STATUE 07 
GEORGE IV.; NATIONAL GALLERY .. 187 

13. correspondence: 

ENCOURAGEMENT OF ART; ANOTHER 

vehicle; the old painters; DE- 
CORATION OF THE NEW HOUSES OF 


PARLIAMENT; BYRON’S STATUE .. .. 190 

13. RAFFAELLE AND HIS FATHER 190 

14. REVIEW OF PUBLISHED WORKS 193 


NATIONAL MONUMENTS AND 
WORKS OF ART. 


There arc men apparently of opinion that, un- 
less the great mass of society be educated at an 
university, or trained by the discipline of a pub- 
lic school, it is far removed from any rational 
hope of comparative culture and refinement. 
There are others who think that, for the poor, 
and for him that has no other helper, the parish 
school, or the national system, is all that is requi- 
site for the purpose of education. Upon the view 
taken by the first, it is unnecessary to remark; 
biography refutes ; daily experience disproves its 
correctness; we seek in vain for its illustration ; 
every succeeding feature becomes weaker as it is 
examined, 

“ And thro* the ivory gate the vision flies.'* 

The second is of more importance ; it is not only 
what education is, but haw it is to be conducted, 
that is here the question ; and as this subject has 
been incidentally discussed in the House of Com- 
mons, upon the motion for admitting the people 
to the gratuitous exhibition of our public Monu- 
ments and Works of Art, we shall venture to sub- 
mit a few observations to our readers, which ap- 
pear to be in strict relation with those intellec- 
tual pursuits it is the design of the Art-Union 
to promote. Strictly speaking, education is a 
progressive action of the mind, for the moral go- 
vernment of our lives, and the interval between 
the lisp of childhood to the querulousness of age 
is one continued lesson. W’hen a youth quits the 
university, his mind may be richly stored with 
the imaginative literature of the past, and 
strengthened by the study of the exact sciences ; 
but education has only commenoed, he has mere- 
ly exchanged the ardent exertion of the scholar, 
for the more arduous struggle for knowledge we 
obtain by the harsh discipline of the world. 


Leave him, and with the aid only of his college 
impressions, his course will be at least uncertain. 
And similarly with the poor man's child. He 
may be trained up wisely, orderly, discreetly; 
may have bishops for his teachers, the kind- 
est ladies of the parish for his guides, his 
mind may be duly influenced by the essen- 
tials of religious precepts, but if you send him 
thus upon the active business of life, with no aid 
subsidiary or subsequent, we fear it will be found 
that present scenes have erased former impres- 
sions ; and that memory increases the remorse of 
manhood by recalling the long-neglected instruc- 
tions of youth. For let it be remembered, there 
is not a faculty with which we are blessed that 
does not, more or less, promote or govern action. 
The poisoned fruit may have the witchery of the 
golden gardens of the Hesperides ; — we may be 
hourly influenced by minute causes, all weaken- 
ing the impressions of the moral sense ^distracting 
attention from the great destiny of life, or lead- 
ing us imperceptibly to a low unspiritual career. 
And here it is the Fine Arts, so connected with 
cultivated sensibilities, the very offspring of the 
intellectual powers, offer in their wide sphere 
objects of ambition, pleasure, of social intercourse, 
and enlightened recreation. No matter what the 
rank or station of the man, the works of Raffaelle 
are alike impressive; the peer and the peasant 
equally acknowledge the greatness of genius, and 
retire, their minds enlightened, their hearts pu- 
rified by the contemplation of the power which 
recalls to their recollection the scriptural truths 
of religion, the mercy, and the moral government 
of the Supreme Ruler of the world. This has been 
denied; and with much elegant imbecility it has 
been stated, that the Fine Arts have chiefly flou- 
rished at the most corrupt periods of civil history. 
Let it be so: and it is after all but a chronologi- 
cal truth. During the rise and growth of states, 
commerce and the military arts chiefly prevail ; 
when arrived at their height, the liberal; as they 
decline, the voluptuary; the Fine Arts advance 
to perfection with the progress of the state; and 
relieve the haggard features of that corruption 
which they cannot systematically check. Had 
they no connexion with the refinement of Greece? 
Were not the successive conquests of Etruria, 
Greece, aud Sicily the first cause of the civiliza- 
tion of the Roman ? Do not the more excellent 
arts demand constant meditation, and an accu- 
rate inquiry into the powers of nature ; and do 
we not thus acquire true grandeur of mind, with 
a capacity of performing every thing in the best 
way? 

The degradation of the Roman was caused by 
the conquests of the republic; they reduced a 
large population to slavery, which ministered to 
the habits of luxury — and the wealth of the known 
world was poured into the capital of one state . 
Moreover the Arts existed under the patronage 
of an impure creed, and a debased and ignorant 
population. Now, religion and education arc as 
the spirit — the guide in this respect. The Arts 
it is true must appeal to cultivated understand- 
ings for support — but cultivated understandings 
are no warrant for religious principles. The in- 
tellectual like the sensual faculties are gratified 
by exercise, and the pleasure derived from the 
employment of talent is quite distinct from the 
enjoyment obtained by the secure government 
of the affections and conduct through the reli- 
gious impressions of the moral sense. There are 
not two characters more worthless than Sylla or 
Julius Caesar ; yet who could connect their de- 
gradation with the love of literature, and ap- 
preciation of the works of Art ? 

Virtu* est bomini scire id, quod queqne habeat res. 
Virtus scire homini rectum, utile quid sit, honestum, 
Que bona quae mala item quid inutile, turpe, in- 
honestum 

Virtus qumrenda rei flnem scire modum que. 

Inculcate religious principles with intellectual 
associations, with those resources which Art and 
Science alike afford, not only as pursuit, but re- 
creation, and the mind is at once strengthened, 


guided, and animated in its career. Schemes of 
this kind, incumbent on us for the good of any 
class, are still more so for the improvement of 
the poor. Impress a man with a proper sense of 
self-respect ; teach him the value of opinion ; and 
show him that advancement is dependent on the 
right use of the means you place at his disposal, 
and he will not be slow to choose them, or willing 
to neglect. The numerous mechanic’s institu- 
tions prove this ; and the societies for the working 
classes in every country town, show not only that 
the schoolmaster is abroad, but that his scholars 
have duly estimated the advantage of his pre- 
sence. In furtherance of the plan for the educa- 
tion and refinement of the people, it is proposed 
to give greater facilities for the inspection of our 
cathedrals, public buildings, and the monu- 
ments and works of Art which they contain. 
For this purpose a committee was appointed 
in June 1841, and it is to the report of that 
committee, to exhibit wbat has been effected, 
and the results we may anticipate from its adop- 
tion, that we must now request the particular 
attention of our readers. The object then of the 
committee was this — “ To inquire into the pre- 
sent state of the National Monuments and 
Works of Art in Westminster Abbey, in St. 
Paul's Cathedral, and other public edifices, to 
consider the best means for their protection, and 
for affording facilities to the public for their 
inspection, as a means of moral and intellectual 
improvement for the people.’' The objections 
urged against those by whom this “ desire of 
affording facilities," Ac., has been advocated, 
have been generally — that it would be attended 
with detriment to the collections — be an impe- 
diment to public service — bring crowds of ill- 
regulated. London people together — was not re- 
quired — and would not be valued when be- 
stowed. In reply to argument, speculation, and 
assertion on these points, we shall quote the 
Report. As regards the British Museum, it 
appears that from 16,000 to upwards of 32,000 
persons have passed through the rooms in one 
day , without any accident or mischief, and that 
in the course of the three or four years that 
this liberal system has continued not a single 
case has required the interference of the police. 
The National Gallery affords a still more fa- 
vourable instance of success from free admission, 
the number has increased from 125,000 in 1837, 
to upwards of 500,000 in 1840. Children of 
every age have been admitted ; the greatest pro- 
priety has been observed ; and the policeman's 
duty is entirely confined to taking into safe 
custody, parasols, walking-sticks, pattens, and 
umbrellas. The Tower, with the price of ad- 
mission reduced to sixpence, has given most sa- 
tisfactory proofs of the error of those who spe- 
culated upon misconduct. In 1840, 94,973 
visitors passed through the apartments, and we 
are pleased to state the sum received enabled the 
Master-General of the Ordnance to apply £1094 
to purchase an additional collection of ancient 
armour, shields, See. The reduction of the price 
of admission to the Crown Jewels has led to a 
similar large increase in the amount received. 
Hampton Court by the generous kindness of 
her Majesty having been liberally thrown open ; 
in 1840, 122,339 visitors, mostly of the working 
classes, attest their appreciation of this advan- 
tage. The admission of the public on Sunday 
afternoons, sometimes to the number of 3000 
persons, and their exemplary conduct in the 
palace and gardens, is a peculiar and important 
feature. There is a notice put up in the garden 
in the following words. “ What is intended for 
public enjoyment the public are expected to 
protect" — and the Committee # have called the 
attention of the House to the satisfactory result 
of placing confidence in the people. Greenwich 
Hospital with its Painted Hall, bears similar 
honourable witness. From the above detail it 
appears that the use which has been made of the 
facilities thus afforded to the public, sufficiently 
proves the general disposition of the people to 


igitized by 


176 


THE ART-UNION 


[August, 


appreciate exhibitions of this nature, and to 
avail themselves of these means of instruction 
and innocent recreation. It offers, further, the 
most satisfactory evidence of the safety with 
which works of Art and other objects of curiosity 
may be thrown open to public inspection. With 
respect to our cathedrals and public monuments, 
the Committee report — “ they do not apprehend 
that any danger to the monuments in Westminster 
Abbey and St. Paul’s would result from giving to 
the public under proper regulations the same 
freedom of admission to those cathedrals which is 
allowed in the case of the exhibitions above-men- 
tioned. They strongly deprecate any course 
which could create an impression that churches 
were at any time to be considered merely in the 
light of places for the exhibition of works of Art. 
But it is their opinion that as by increased facili- 
ties of admission to the inspection of mere works 
of Art, civilization has been encouraged, and 
public taste improved, so a more free admission 
to religious edifices under proper regulations 
may be made conducive, not merely to the 
gratification of curiosity and the acquirement of 
historical knowledge, but to the growth and pro- 
gress of religious impressions, by leading the mind 
of the spectator from the contemplation of the 
building, to a consideration of the views with 
which, and the purposes for which, it was origi- 
nally erected, and is still maintained. Much 
indeed is it to be desired that the public was more 
seriously impressed with the sacrcdness of cathe- 
drals and churches ; the evidence given by the 
Rev. Sydney Smith has fully confirmed his 
accurate recollection and acquaintance with the 
transactions which occurred in St. Paul’s, the 
century before this , and fully justified his fears 
of their probable renewal. But it is to be re- 
membered the disgraceful conduct he alludes to 
is to be traced to those who sit within the gates 
of the choir, who desecrate the church and inter- 
rupt u the worship of the 15 or 20 very serious 
pious people, old people, and sick people, who 
seem quite in earnest,” rather than to those who 
are walking without. Yet it is obvious that 
religious worship, and the exhibition of works of 
Art, in the same temple, at the same time, 
cannot exist together with due regard to de- 
corum. In a vast city like London there ever 
will be a mass of idleness and folly — and the 
regulations applicable to York or even Windsor 
fail of application here. Policemen, Vergers, 
Canons residentiary and rails may do much ; 
but there is yet more of inconvenience and mis- 
conduct than cither law, reason, or Deans and 
Chapters can control. If Sunday be the poor 
man’s day, it is also the Lord’s day ; and the ob- 
! jection of converting the House of God into an 
exhibition, and that in the midst of this city 
during the hours of public worship, is one every 
good man must feel, and every conscientious 
mind maintain. We cannot but contrast the 
behaviour of a Catholic community in this re- 
spect ; yet we do hope much may yet be done, 
by increasing the solemnity of public worship, by 
the religious decoration of our cathedrals, and 
removing that too prevalent puritanism of thought 
which induces so many to view them merely as 
places for the assembly of men for stated pur- 
poses, rather than with that holy reverence, 
which bows us in prayer before the altars of the 
edifice we were taught of aforetime to consider as 
the House of God. It is however gratifying to 
find the relaxation of rules which has taken 
place, and we cannot hut think the small fee 
now required at St. Paul’s and Westminster 
Abbey, useful in some degree as a check, and 
not operative .as an exclusion. And here it is 
right to state, that not one shilling of the sum 
received at the Abbey goes to the Dean and 
Chapter. It is strictly applied to the building ; 
and from this fund it *is intended, as the Abbey 
is extremely deficient in painted glass, to at- 
tempt to revive that Art ; in point of fact, to put 
painted glass into the south transept window. 
If our churches were more frequently thrown 


open ; if they could more constantly be made 
the sanctuary of voluntary prayer ; if the poor 
might at general hours there enter, and seek con- 
solation in the silent petition of the afflicted ; if 
the man of the world might be able to awaken 
his mind to contrition by one solitary reflection, 
offered in the place where in the purity of 
childhood he has knelt; and this not only at 
stated hours, according to fixed and regulated 
formularies, but as the thought prompted and the 
wish induced ; the sacredness of a church might 
perhaps then become an impression endeared to 
us by much of saddening recollection, but by far 
more of holy and joyful respect. 

“ Why are our churches shut with zealous care, 

Bolted and barred against our bosoms yearning, 
Save for a few short hours of sabbath prayer. 

With the bells tolling, statedly returning. 

Why are they shut 7 

“ Are there no wicked whom, if tempted in. 

Some qualms of conscience, or devout suggestion. 
Might suddenly redeem from future sin. 

Or if there be— how solemn is the question— 

Why are they shut? 

The testimony as regards the good conduct of the 
people has been invariably confirmed, and that of 
Colonel Rowan one of the chief policecommissioners 
is most important in this respect. But we trust not 
to a force of this description, let good order arise 
from a conviction of the moral benefit it creates 
and extends ; educate, train, and refine»the peo- 
ple ; and make them the protectors of what you 
design for their advantage. Good taste, and sensi- 
bility to works of Art, are neither exclusive gifts 
nor entirely the result of study ; it is not requi- 
site that every man should be a critic, but it 
is right that all men should be allured from 
indulgence in the propensities of idleness, by 
means which at once nourish their powers and 
inculcate the respect due to genius, public worth, 
and the institutions of their country. “ You can- 
not,” says Mr. Cunningham, “ know what a 
statue is in a packing-case, but if you set it out 
on a pedestal and let people look at it, they will 
tell you.” In like manner, you cannot maintain 
the feeling due to the memory of great men ; you 
cannot keep up the incentive of emulation to acts 
of heroism and virtue ; you cannot give the Arts 
which refine the moral support of your country- 
men, by any other means than by making them 
partakers of the benefits of education, alleviating 
the evils of poverty, mitigating the tenden- 
cies of passion, and impressing their minds 
with the conviction, that religion, knowledge, 
and the Arts, which refine society, increase enjoy- 
ment, alleviate misfortune, and form the basis of 
the happiness of life. 

With regard to opening the National Gallery 
and British Museum on Sunday, we are far from 
considering it desirable ; it would be a step accom- 
panied by much speculative advantage ; and one 
that would take away more rest than it could 
confer pleasure. Improve and extend your parks; 
and emulate continental nations in this respect, 
that even in their casual moments of recreation 
they are reminded of the actions of great men, by 
the statues they have erected to their honour. 
The opinions of the living are impressed with the 
passions of the living, but in the dead there is no 
change ; their lives are a lesson to all time ; no 
strife can destroy, no heresy mislead their 
silent influence ; and the gradual amelio- 
ration of our social condition arises not alone 
from the knowledge we exercise, but the wisdom 
which the past has treasured ; and in which we 
have been reared. To blend the elegant and 
useful Arts with a system of moral instruction is 
the best safeguard for national as for individual 
happiness. Design and beauty are united in 
the works of Creation, and Creation is the in- 
structress of the mind of man. 

" Thus was beauty sent from heaven, 

The lovely miniStress of truth and good 
In this dark world : for truth and good are one, 
And beauty dwells in them, and they in her 
With like participation.” 


PAINTING AND SCULPTURE, 

A8 CONNECTED WITH RELIGIOUS EDIFICES. 

It is a self-evident truth, and admits of no ques- 
tion, that a taste for the civilized Arts, both of 
painting and sculpture, increases and becomes 
improved the more the eye and the mind are 
accustomed to the works of their creation. It 
is not as with the grosser passions of our nature, 
where familiarity dulls the faculties, and every 
day rendbre them less capable of enjoyment We 
know that the drunkard often shudders at the 
draught he takes, though habit has made it 
the necessity of his existence ; that the epicure 
becomes palled amid the dainties with which he 
is surrounded ; and that the miser has been found 
to hate the meanness of his passion, though the 
materiality of his mind has still urged him on to 
acquire. 

Among the nations of antiquity men will be 
found pre-eminent, both in public and private 
virtue, where the sister Arts had reached the 
greatest degree of perfection. The era of the 
creation of the magnificent works of Grecian 
genius, the admiration of posterity, is to be 
sought for immediately after the Persian war, 
in the days of Pericles. The constant view of 
monuments, so exquisite in their execution, 
formed the taste and excited the emulation of the 
beholden ; and it would seem as if the private 
worth and public virtue of the citizen, increased 
or diminished in proportion as the genius of the 
painter or the sculptor became extended or con- 
fined. The disciple of Zeno felt his resolution 
to bear the ills of life strengthened by the con- 
templation of the almost living examples which 
the artist hod presented to his view ; nor did the 
pupils of Socrates or Plato find the lessons of 
those sages less impressive, when taught in con- 
nexion with the monuments of foregone and 
heroic virtue everywhere seen around. We may 
be told that the virtuous days of Rome preceded 
the perfection of the Arts in the republic ; but 
we learn from the historian, that if an age of 
happiness under that dominion could ever be 
reckoned for mankind, it was during the reigns 
of Trajan, Adrian, and the Antonines, when the 
public treasure was poured out, and the exertions 
of the emperors were directed to the encourage- 
ment of Art and the protection of genius. 

In the middle ages, which succeeded the 
swarming of those hives of barbarians who, pass- 
ing from the north, covered Europe with dark- 
ness and desolation, the first gleams of light ap- 
peared in that land which principally contained 
the masterpieces of ancient power and genius — 
the admiration and study of our times. The 
fierce and warlike tribes which occupied the 
various regions of Italy became softened in their 
manners from the contemplation of ancient Art 
everywhere displayed; the Hun, the Goth, the 
Lombard, or the Vandal, whose eyes had been 
accustomed only to contemplate the monstrous 
and deformed idols of their gods, could not long 
resist the force of truth. He saw around him the 
most perfect forms, and the most sublime con- 
ceptions, called forth by the laboure of the painter 
or the sculptor ; and perhaps it was fortunate 
that the fathers of Christianity obtained the aid 
of both to instruct the illiterate barbarian. The 
followers of Thor or Odin soon turned with 
horror from their hideous and blood-stained 
statues ; the natural and rugged virtues of their 
nature burst forth when they saw the history of 
their Redeemer visibly placed in the temple of 
his worship; and their hands grasped, as did 
that of Godfrey in an after-day, their swords, in 
genuine indignation of his sufferings; although 
mistaken in their impulses, yet their faith became 
unshaken, and their penitence sincere. 

However the practice of placing in public 
buildings, dedicated to worship, works of Art, 
representing different scenes in the passion of our 
Lor i, may, by some modem writers and divines, 
be objected to, certain it is in the primitive ages 


1842. THE ART-UNION. 177 


of Christianity, before and Jong after the age of 
Constantine, all the talent which then existed in 
the empire was almost exclusively devoted to de- 
corate the churches ; and there can be no doubt 
that the impression which was made on the minds 
of the people by the labours and eloquence 
of the fathers of Christianity, became more im- 
pressive, and more deeply written on the minds 
of their hearers, when, after the exhortation was 
finished, the congregation remained with awe to 
contemplate the mute representation of the stu- 
pendous miracles or sufferings they had heard 
described. It was not till the different schisms 
which arose in the church, from the pride and 
ambition of its pastors — each endeavouring to 
obtain a political pre-eminence over his equal, 
forgetting whose commission he bore, that the 
successor of each bishop or patriarch, to gain 
a greater degree of reverence to himself, at- 
tributed to his predecessor the power of 
working miracles, which he knew were false, 
caused his beatification, and, taking ad- 
vantage of the ignorance of his flock, induced 
them to have more pride in being followers of 
8t. Hierom or 8t. Ignatius, than followers of 
Christ. The natural consequences of priestcraft 
and superstition quickly followed ; every church 
as it arose from its foundations was decorated with 
the histories of men and not of the gospel ; and 
the rapid progress which the papal power made 
showed the potency of the weapon employed. 
The Arts became deteriorated in proportion as 
the story they narrated was monstrous or ab- 
surd ; the solemn scenes which the pages of the 
gospel had described, the history of salvation 
which they told, and by which the artist seemed 
as if inspired, ceased to operate on his imagina- 
tion ; he found nothing in the lives of St. Austin, 
St. Dunstan, or St. Ursula, but earthly mortality 
and inane superstition, and he degenerated into 
the barbarous chronicler of a barbarous tale. 

It would thus appear, and the facts prove it, 
that it was the policy of the court of Rome to 
bring the Arts to its assistance, and that one great 
engine employed was the introduction of repre- 
sentations of the assumed miraculous power of 
its supporters in all places, not only of religious 
worship, but of domestic life ; everywhere they 
met the eye, and the lessons which they told be- 
came impressed on the mind and the belief, as 
much by being made familiar to the sight as by 
being narrated in the language of the country 
where they were exhibited, while the real ordi- 
nances of Christianity were delivered in a foreign 
tongue, and the works of Art, whose subjects were 
taken from the Scriptures, and which would have 
enlightened the piety of the age, were either dis- 
countenanced or suppressed. It is true that the 
genius of Leonardi, of Raffaclle, Michael Angelo, 
and others, disdained to hand down to posterity 
the puerile fables of unholy saints, but these ex- 
ceptions only prove the rule ; and the encourage- 
ment they commanded but shows, that either the 
pride of being patrons to men so extraordinarily 
gifted, prevailed over the policy of princes, or that 
there were some who had escaped the dark ness of 
the times, and who dared to protect and cherish 
genius, though displayed beyond the bounds sa- 
cerdotally allowed. 

To prove with what force the labours of the 
painter and sculptor may be brought to bear on 
the operations of the mind, it is only necessary 
to point out, that in works of civil or religious 
history, of tracts or of literature in general, those 
which will admit of them are not only read with 
greater avidity, but are also with greater facility 
imprinted on the memory. Some, indeed, there 
are, the vividness of whose imaginations have 
the faculty of conjuring up in the mind images 
which possess all the intenseness of reality ; they 
live in the actions they hear described ; and the 
pictures formed by their imaginations have the 
same effect as if they were in reality before them : 
but this is seldom to any extent the case ; and it 
will be found that the greater part of an audience 
at a theatre will give a more correct aud perfect 


relation of the tale they have seen performed, and 
that they feel its moral with greater strength 
when picturesquely produced, than if they had 
heard it read or narrated without such addi- 
tional aids. 

In many of our churches sentences from Scrip- 
ture are painted on tablets affixed to the walls ; 
those which are of the class of prayer or thanks- 
giving, it would not be possible symbolically to 
understand, but those which relate to the actions 
of our blessed Lord and his Apostles, must, 
through the very nature of our being, acquire 
double force when shown to us, as if in actual 
life and performance, through the creations of 
genius and study. The sacred character of the 
edifice where the picture is placed, which the 
master-hand of the painter had produced, also 
throws a majesty and solemnity around the 
subject, which will be sought for in vain in the 
gallery, where, mixed with a thousand others, it 
is looked upon but as a work of Art, and os such 
to be criticised or admired, but its moral is for- 
gotten and its utility is lost. The Cartoons of 
Raffaelle at Hampton Court are a proof of this, 
but little of religious feeling is ever felt in the 
contemplation of them; the mind of the spec- 
tator, after passing through the various apart- 
ments of the palace, becomes satiated with the 
multiplicity of paintings he has seen, however 
44 masterly” they are executed; and his imagina- 
tion occupied with the portraits of Vandyke, 
the gods of Verrio, the battles of Wouverman, 
and the Lely beauties of Charles’s court, on en- 
tering the gallery which contains them, is in a 
state but ill calculated to appreciate either the 
magnificence of their execution, or the awful 
grandeur of the subjects they contain. The same 
is felt in the National Gallery : how much of the 
effect of Sebastian del Piombo’s splendid picture 
of the 4 Raising of Lazarus,’ and the * Disputing 
with the Doctors,’ by Leonardi, is lost by the 
intermixture of other works of Art. The frescoes 
of Michael Angelo were painted on the walls of 
St. Peter’s and the Sistine chapel of the Vatican; 
and it is not unreasonable to suppose, that 
the immensity of the one, and the solemnity of 
the other, added vigour to the pencil even of that 
great master. Take the celebrated picture by 
West, the 4 Last Supper,’ from the altar of the 
choir or sanctuary of Winchester ; or the painted 
windows of the 4 Resurrection,’ and of the 4 Wil- 
derness,’ by Mortimer and Sir Joshua, and place 
them in a gallery, their beauties are diminished 
and their effect is lost, their utility only becoming 
developed from the localities they occupy : the 
works of Wilkie would lose as ranch of their in- 
tensity exhibited in the dim mysterious light of a 
religious edifice, and be as much misplaced, as 
are the sacred subjects of Scripture when they 
arc contemplated in adjunct positions with the 
Venuses of Corregio, the rapes of Rubens, or the 
landscapes of Claude. 

Having endeavoured to show that, by the em- 
bellishment of our sacred edifices with works of 
Art taken from scriptural subjects, devotion must 
be increased, we may consider what a mighty 
impulse would be given to native talent ; what a 
vast field would be opened to its exertions, if 
public patronage were employed in decorating 
our religious edifices with works of Art. To 
whatever degree of excellence the English school 
of painting has attained, it is confessed that in 
the higher walks of scriptural and historical sub- 
jects it is far below that of Italy, if not of others. 
When have a Reynolds, or a West, or any other, 
been able to animate their saints, and give the 
Lord of saints that supernatural cast of features, 
that Promethean light, which a Raffaelle or a 
Rubens would seem to have borrowed from 
heaven itself, wherewith to inspire them. The 
Apostles of the English school are ordinary men, 
or at most thoughtful philosophers, or elegant 
courtiers, studious of their attitudes: in that 
which is considered West’s masterpiece, at Win- 
chester (and it is characteristic of the school), the 
figure of our Lord appears more like a physician 


prescribing a remedy for the recovery of his pa- 
tient, than the great Messiah working a stupen- 
dous miracle for the conversion of a nation.* 

With our sculptures the case is different ; here 
public patronage has not been wanting; immense 
sums for monumental tributes to the heroes, the 
philosophers, and the benefactors of our country, 
have been expended ; yet the same cause lias had 
the same effect. Who, that has contemplated the 
monuments in St. Paul’s, and has seen those in 
many parts of Europe, but must confess, that 
however beautiful they may be found in exe- 
cution, however characteristic in the resem- 
blance, yet the puerile fables with which in 
general they are encumbered, is to be regretted 
and deplored ? Would St. Paul or St. Peter im- 
mediately on entering that cathedral take it for 
a Christian church ? Would not those fathers of 
our faith recognise in the Britaunia the Minerva 
of Athenian worship? Is not the Neptune of 
paganism to be found ? What arc the angels, 
with extended wings, supporting the dying war- 
riors, but the numers inferiores of antiquity ? 
Such concomitants of monumental respect may 
be fit for a Pantheon, but are misplaced in a 
Christian temple; far better than this was the 
taste of our rude ancestors, the figure of the 
departed, with hands clasped, as if in prayer! 

Neither in this cathedral, or in the Abbey of 
Westminster, is there a painting to be seen. Can 
there be any doubt that, if the walls of the 
former, whose symmetry is now barbarously en- 
cumbered and disfigured with so many masses 
of marble, had been illuminated with masterly 
representations of the passion of our Lord, 
the fervour of devotion would not have been 
increased ? 

The same cause which has exerted its baneful 
influence in preventing our countrymen from 
excelling in the more lofty conceptions of pic- 
torial art, has also contributed to keep that of 
sculpture from reaching the perfection we hope 
both are yet destined to attain. The sculptor 
must necessarily be a painter ; the latter, from 
want of encouragement to carry out the ideas, 
which in his pupilage he has received from 
studying the historical and sacred subjects of 
the great masters, as he becomes more perfect 
in his art, finds his conceptions bounded by 
the encouragement he receives ; the picture upon 
which he has lavished his labour and his time 
must necessarily, as an early attempt, be imper- 
fect, and he is content to labour on. He knows it is 
only by repeated attempts that excellence can be 
attained; his efforts are redoubled, and parts of 
the picture arc found faultless, but his pencil is 
unprofitable, because the subject upon which lie 
is employed imperatively requires that all the re- 
sources of the Art should be brought out. He 
then discovers that in those portions in which he 
has succeeded and is perfect master of, he has 
obtained sufficient material to approach perfec- 
tion in subjects not requiring such diversity of 
study ; he becomes a portrait, a landscape, or a 
painter of domestic life, and though pcrlmps in 
any one of these, he cannot be surpassed, yet, 
when in his celebrity he is called to produce 
something of higher and greater design, he is as 
incapable as when he began his career ; perhaps 
even more so, his imagination by continual action 
on that particular branch of his Art which he 
has been necessitated to pursue, having become 
reduced to the scale of the subjects on which his 
labours have been bestowed. This is the reason 
why our monumental sculptors are, in general, 
poor and heterogeneous in their designs and 
character ; any single part may be perfect, but as 
a whole, they are mostly failures. The same 
cause acts with the same effects on these sister 


* Wc refer to the general character of our 
school; there arc some noble exceptions— and 
would be many if the art were duly encouraged. 
'The picture of ‘Christ looking down upon Jeru- 
salem,’ by Mr. Eastlake, will bear comparison 
with the highest productions of the old masters. 


Digitized by Cr.ooQie 



178 


THE ART- UNION 


[August, 


Arts : it is the national patronage which can alone 
afford remuneration for the years of toll and 
study, which must be consumed before the 
full development of genius can be attained. 
In vain may exhibitions and institutions be 
opened, where the works of artists are tempora- 
rily displayed ; the same cause which depresses 
the painter and sculptor, and prevents them from 
rivalling the ancient masterpieces of Art, equally 
disqualifies the spectator from forming a correct 
judgment of the merits of what is presented to 
his view : his taste is formed by what he sees, 
and he criticises the minutiae and the excellence 
of the execution ; but he thinks not of the tri- 
fling nature of the subject on which so much 
genius has been expended and lost ; no lesson of 
importance is instilled into the mind, as no pre- 
cept of virtue, patriotism, or religion is offered to 
his view. If any picture possessing these qua- 
lities is produced, it quickly disappears and 
speedily becomes part of some private collection, 
where it is as effectually hidden from public in- 
spection, and as useless for all improvement of 
public taste, as if it had never been created. 

The best and most extensive field for the en- 
couragement of Art, is that on which the talents 
of the great masters were displayed in the sacred 
edifices and on the sacred subjects of our faith. 
We have endeavoured to show with what power- 
ful effects the Fine Arts were early brought to act 
against the infidelity or the paganism of the 
barbarian, and that both constituted for centuries 
a powerful auxiliary in the extension of true re- 
ligion and virtue; and that however they may 
have afterwards been desecrated from their pro- 
per ends, their inherent power of good remains, 
and can never be destroyed. 


A TOUR FOR THE ARTIST. 

July 9, 1842. 

Sir, — At a time when artists are arranging plans 
and settling routes, that they may obtain profitable 
material with which to fill their sketch-books, I 
may, perhaps, be permitted to obtrude a few 
words on the claims put forth to their considera- 
tion by a country of which Englishmen in general 
know much less than they do of the East Indies ; 
for while the latter country has had the benefit of 
an extensive pictorial publicity, and its architec- 
ture, its natives, and its scenery, have become as 
familiar to the eve as those of our own land, the 
country to which I would now call attention has 
never had equal advantages, although part and 
parcel of our own dominions, its peasantry speak- 
ing our own language, and governed by our own 
laws. Need I name Ireland — a country pos- 
sessing as bold and romantic scenery as any nation ; 
its peasantry as intelligent and picturesque as their 
more fortunate and much more frequently 
“painted ” neighbours — and where “ a stranger ” 
is always doubly welcome to the home of the 
landlord or the hut of the peasant. 

I have been prompted to the task I have allotted 
myself in thus writing to you, from the strong im- 
pression left on my mind during a recent visit to 
that’ country, and which will of course enable me 
to furnish the latest particulars concerning roads 
and accommodation to be met with there ; and also 
from a feeling becoming pretty common, both with 
artists and visiters to our yearly exhibitions — the 
desirableness of opening a fresh field for the exer- 
tion of the landscape-painter’s talent. The Rhine, 
that fruitful source to the painter, has been ex- 
hausted ; its scenery has been copied and re- 
copied until it has become so familiarized as to be 
almost looked on qrith indifference ; and artists 
have been known to travel long and unpleasantly, 
with great risk of health, and even of life, to break 
new ground ; and yet a great and a beautiful coun- 
try— -a part, indeed, of Great Britain — has re- 
mained a terra incognita until lately, and even 
now many of its lovely glens have been untrodden, 
and its glorious mountains unlooked upon by the 
eyes of British artists, who have roamed so per- 
severingly over almost every other part of the 
globe. 

I never was an unnecessary alarmist. Although 
as much attached to the comfort and safety of our 


own land as any Englishman can be, I have always 
confided in the innate sense of honour to be found 
in the people of any country who find a stranger 
travelling among them merely to view the beautiful 
in nature. But I know that many of my country- 
men would have a great objection to travelling in 
Ireland, after the events that have recently hap- 
pened there. I can only say such fears are totally 
groundless ; that while most, if not all of these 
outbreaks are traceable to peculiarly local sources, 
there is no country in the world where the traveller 
may pursue his course with greater safety as a 
tourist and a stranger, and meet with more respect- 
ful and honest treatment. I have been through the 
wildest parts of Connaught and Connemara at 
twelve and one in the morning, without injury or 
molestation, in the midst of an almost famishing 
peasantry — impoverished many degrees beyond 
what most Englishmen would believe to be the 
fact — and have frequently left all I had at inns, 
unsecured by anything but the rigid honesty of 
the people, which I have always found its sure de- 
fence. Indeed, I have been cured of the alarm 
produced by distant rumour, since a striking in- 
stance of its absurdity occurred to me about two 
years ago in France. Two ladies, who were ex- 
ceedingly anxious to revisit England, their native 
country — for many serious reasons, as well as from 
the natural one of “ love to their fatherland,” were 
effectually deterred, and frightened out of all their 
arrangements for this purpose by the meeting of 
Chartists at Holloway Head, and the spread of 
their principles, which they believed to have ren- 
dered England an unsafe country to visit or live 
in, and they consequently dreaded to cross the 
channel. Of a similar kind and character are the 
apprehensions of danger that deter many from 
visiting the Sister Island ; and they are just about 
as reasonable and as well grounded. 

Perhaps some excuse may be found for non- 
visitants, in the fact that the great changes that 
have occurred in this country, and the great faci- 
lities and advantages that the last few years have 
riven the tourist, are not sufficiently known. Some 
few years since, and no regular coach-road inter- 
sected these wild regions. Certainly the ancient 
roads are sufficiently uninviting, winding, and tor- 
tuous ; they straggle over high mountains in rug- 
ged uncomfortableness, and tell plain tales of the 
many disagreeable things a traveller in the “ good 
old times” must have encountered. These things 
have now passed away, and roads as level and con- 
venient as any in England leave the old mountain 
track to weeds and solitude. The dirty hovel with 
44 pigs in the parlour,” where a “ shake down” of 
straw alone afforded the traveller rest, and a bowl 
of potatoes “ good entertainment,” has given place 
to houses of accommodation, a little too much 
honoured to be sure in the high-sounding appel- 
lation of 44 hotel,” so commonly bestowed upon 
them, but which are marvellously in advance of 
their predecessors, and many of them as comfort- 
able as small inns generally are. The car-riding 
too, is far less cramping and inconvenient than the 
stage-coach travelling of England ; and if it does 
not get over the ground quite so rapidly, accidents 
I are things very rarely heard of, and that is a pretty 
fair equivalent. Eight miles an hour is, however, 
quite rapid enough for one who wishes to see the 
country he passes through. Railroads show us 
nothing. 

The traveller wishing to visit Connemara and 
the wild and grand coast-scenery of this part of 
Ireland, can ride by mail or by Bianconi’s car from 
Dublin to Newport or Westport, going in a pretty 
direct line across the island ; or else, from Dublin 

S roceed to the interesting old town of Galway. 

\y either route he will easily reach the mountains 
and lakes that are the chief and most attractive 
features of this primitive portion of Ireland. Sup- 
posing him at Newport, the journey thence to 
Clew Bay and the islands that stud its waters, is 
exceedingly romantic and picturesque ; the ruined 
abbey of Borrishoole, and still further Carrick-a- 
Hooly Castle, the residence of the famous pirate 
chieftainess of the sixteenth century, Grana Uaile, 
or Grace O’Malley ; afford picturesque 44 bits” on 
the journey, to say nothing of the rude and antique 
forms of the cottages that occasionally peep upon 
the road, each worthy of the pencil ? and tneir 
equally picturesque inhabitants ; the girls in their 
deep-rea petticoats and jackets, with their healthy 
cheeks and richly-clustered hair, that many a lady 
higher bora might envy; confined beneath the 


ample hood or capacious mantle, its broad bold 
Mas, as it hangs majestically from the head upon 
which a load is frequently poised, adding an “ an- 
tique grace” and dignity to figures that seem to 
realize Homeric times. Certainly they may be 
said to be the 44 finest peasantry in the world” far 
the painter; a more fortunate admixture of bright 
colours is seldom to be met with than they display 
upon themselves. A red petticoat, with a deep- 
blue body and yellow handkerchief, aids the more 
sober scenery of the country not a little, and is of 
much value in landscapes where green and grey 
alternately abound. 

Clew Bay is perhaps as beautiful a thing of its 
kind as can be seen; when viewed from the moun- 
tains that surround it, it is magnificent. The 
varied shapes of the rocky shore, the towering 
summits of Croagh Patrick, and the numerous and 
varied islands that literally crowd this part of the 
coast, presents a picture worthy any artist’s pencil. 
The lofty rocks and the solemn mountain passes 
that lead toward Achil are also delightful places for 
the botanist to ramble ; 44 with gaudy flowers the 
cliffs are gay,” and among the many beautiful 
plants, the heath only to be met with here and on 
the shores of the Mediterranean, is deserving of 
especial notice. The silvery bunches of the bog- 
flax, waving luxuriantly over the flats, and agree- 
ably dotting their surfaces with its brilliant white- 
ness, is also peculiarly grateful to the eye. But 
why stay to enumerate where all is beautiful. 

The road from Clew Bay to the Island of 
Achil crosses the mountains, and gives us a view 
of a small bay, 44 Black Sod Harbour,” the point 
of land styled 44 the Mullet,” and the islands of 
Innisboffin and Innisturck. The savage grandeur 
of those lonely hills, over which the wild juniper 
and purple heath spread so luxuriantly, and down 
whose sides fall the mountain torrents like so 
many silver threads — the magnificent clouds that 
encircle their heads, and which claim for Ireland 
the pre-eminence in cloud scenery — the sea studded 
with islands, and stretching forth towards Ame- 
rica — when combined as we saw them with the 
glorious arch of the rainbow, to be traced by the 
eye from one point of land to the other, and 
typical of the over-ruling power of its Maker 
spanning these enormous hills, gave a sublimity to 
the scene that words fail in conveying. 44 The 
heavens were telling the glory of God, and man 
could but gaze and wonder. 

The inhabitants of Achil live in a primitive sim- 

a ; their houses are heaps of rude stones 
ed by the tide, and procured from the beach, 
uncemented, and held upon each other 44 by the 
force of their own gravity ; ” a fact of which their 
inhabitants are no doubt profoundly ignorant. A 
slight thatch covers them, and no window or chim- 
ney is to be seen ; the doors let in light and air, 
and let out the smoke of the small turf fire, and the 


people like the smoke for the extra heat it imparts. 
The eagle and fox are their fellow inhabitants, and 
live ana burrow in the high mountains that rise in 


the bland. As they lived centuries ago, even so 
they live now : more simply and fewer degrees 
above the cattle of the field many of them could 


not live. Some of their huts are mere holes dug 
in the sides of the ground, fronted with sods, and 
covered with turfs of grass ; a bed of heath is all 
the furniture, and the entrance of one was but 
three feet high. 

From Westport the road runs through a tract of 
country that has not been unaptly styled the 44 Irish 
Arabia Petrea,” so stony and uncultivated b the 
scene. An imagination strong enough to enlarge 
the small lakes and their surrounding rocky hills 
into sufficiently ample bounds, might frequently see 
not unapt realizations of the many views we possess 
of the Dead Sea. At Leenane b a comfortable inn, 

| this is the head of 44 The Killeries,” — a name given 
to an arm of the sea that runs in about four miles 
here. It is confined by magnificent mountains, 
one of which, Muilrea, is 800 feet above the level 
of the sea. Nothing can be finer than the solemn 
magnificence that seems here to shut you from the 
world. An hour’s ride along this mountain ridge 
leads you to an open level, and here you obtain a 
magnificent view of the 44 Twelve Pins ” of Con- 
nemara ; a gigantic group of mountains of the 
most fantastic forms, and including in their 
bosoms lakes of surpassing beauty ; one of which, 
Loch Ina, can scarcely be exceeded for savage 
grandeur. The Pass of Keilmore that winds 
around their base, would exhaust a poet’s power of 


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THE ART-UNION, 


179 


description. The fantastic shapes of the hills, the 
wild Luxuriance of the trees, the picturesque irre- 
gularity of the rocks, that fallen, seem to stop the 
traveller’s progress — the beauty of the lake and 
stream, that irregularly winds throughout— and 
the varied loveliness of the whole landscape, that 
shifts like the kaleidoscope, and forms ever-new 
and ever-pleasing pictures with each movement of 
the spectator, amply repay the toil of the visitant. 

There is at Maam, in the heart of these moun- 
tains, a most comfortable and commodious inn 
which was built by Mr. Nimmo, the celebrated 
engineer to whom Ireland is indebted for her 
modern admirable roads. He chose this spot for 
his own residence, and built this house for his own 
accommodation ; and certainly it would be difficult 
to fix on a more exquisite site. From its windows 
it commands views of the 44 Twelve Pins,” of 
Lough Corrib, and 44 Hen Castle” upon the small 
island in its centre, and which has been happily 
compared to Lochleven, and it is within an hour’s 
walk of Lough Ina, and the most picturesque and 
beautiful scenery of this part of Ireland. 

Let the traveller provide himself well against 
rain. If there is any rain in Ireland it will be 
met with among these mountains ; and when it 
does come down it is solid and palpable. 

In the hope that these few remarks, manifestly 
incomplete and desultory, may induce artists of 
greater ability than myself to visit scenes so grand 
and magnificent, and in every way so well worth 
their attention from the circumstance of their 
being hitherto undelineated, and thus soliciting 
44 justice for Ireland ” ina new and different spirit, 

I beg leave to subscribe myself, Sec. 

F. W. Fairholt. 

[We gladly insert this letter— and can confirm, from 
our own knowledge of the country described, the 
opinions strongly and ably expressed by our corre- 
spondent. It is just the country for the artist to visit ; 
perhaps in no part of the world could he find more 
admirable subjects for his pencil— whether he studies 
the immense varieties of nature, or human character as 
infinitely varied. Connemara is a wild and almost 
primitive district of Ireland ; civilization has made here 
comparatively slow progress; until within the last 
twenty years there was literally no coach-road through 
it, and he who travelled there was compelled to journey 
many miles on foot, without meeting any habitation 
but the cabins of the peasantry. Now, every part is 
easily accessible : but as yet the originality of the 
scenery and people remains unimpaired. The artist | 
can have no idea of the surpassing grandeur and ' 
sublimity of the district ;— go where he will, he finds a 
subject for his pencil; the lines of the mountains, 
covered with the heather; the rocks of innumerable 
shapes ; the “ passes,” rugged, but grand to a de- 
gree; the finest rivers, always rapid— salmon-leaps 
upon almost every one of them ; the broadest 
and richest lakes, frill of small islands, and at times 
clothed with luxuriant foliage along their sides; in 
feet, Nature nowhere presents such abundant and 
such extraordinary stores of wealth to the painter 
—and even now it has been very little resorted 
to. Add to this, that every peasant the artist 
will encounter, furnishes a striking and picturesque 
sketch ; and as they are usually met in groups, scarcely 
a picture will be without this valuable accessary, as an 
introduction to the landscape. Their dresses, as well 
as their forms, afford admirable material. 

It is no unimportant addition to the advantages to 
be derived from this tour, that the journey is safely, 
easily, and cheaply made— by far more safely, easily, 
and cheaply than a tour up the Rhine, or even into 
Belgium— places as familiar to the artist's tread as the 
steps that lead from Trafalgar-square to the gallery of 
the Royal Academy. About six or seven shillings a-day 
will be the utmost required for his expenses while in 
Connemara ; and a little more than three pounds will 
take him into the very heart of the district. If he be 
au angler his sources of enjoyment will be largely en- 
hanced ; it would seem like a fable if we were to tell 
him of the sport he may obtain in any one of the many 
noble rivers with which it abounds. To these observa- 
tions we may add, our willingness to tarnish (privately) 
to any artist desiring to make the journey, tall instruc- 
tions upon all matters concerning which he may require 
information.] 


THE ARTS IN CONTINENTAL STATES. 

ITALY.— Rohr.— Firif of the Pope to a Rus- 
sian Painter. — In a beautiful situation beyond the 
Porta del Popolo, stands the palace which bears the 
name of Palazzo-del-Papa Giulio : within its walls 
a Russian painter, M. Heberzettel, now has his 
studio ; ana his holiness on the 13th of June paid 
him a visit in order to see his lam picture called 
4 St. John in the Wilderness.’ This picture has 
made much sensation in the artistic world at Rome, 
and the journals are alike lavish in their praise of 
the invention, pure style, correct drawing, truth, 
and force of colouring. It would seem that to a 
happy imitation of nature it adds the sweetness of 
the Florentine school and the majesty of the Ro- 
man, the brilliancy of the Lombard, and the rich 
colouring of the Venetian, in the same manner as 
in old times was practised by the Bolognese school, 
especially Annibale Carracci in the famons 4 Loggia 
Farnese. His holiness and his suite remained 
a long time contemplating the picture, and encou- 
raging the artist to new labours. 

Bologna. — Exhibition of Painting t in the 
Streets. — There is an ancient custom in Bologna, 
that for certain religious processions that take 
place yearly in three different parishes, the walls 
of the buildings in the streets of those parishes 
are adorned witn carpets, flowers, hangings, velvet, 
gold-embroidered stuffs, &c., in a most elegant 
and picturesque manner ; and when in these pa- 
rishes there is the residence of some of the pro- 
prietors of the magnificent collections of pictures 
for which Bologna is so famed, it is the custom to 
exhibit the pictures in arcades, of which there 
are so many in Bologna, and catalogues are distri- 
buted gratis to the people. This privilege is 
never abased ; these masterpieces are religiously 
gazed on and admired ; and by the respect of old 
tradition no one injures or permits to be injured 
in the slightest degree these treasures of art. We 
are reminded of the artistic festivals of Sicyon in 
the old times of Greece, called the city of painting, 
as afterwards Felibien called the city of Bologna. 
This year the three parishes of the festival were 
Santa Caterina, San Vitale, and San Benedotto, in 
which are the palaces of the Prince Hercolani, 
Marches® Tanari, Conte Brunetti and other no- 
blemen and gentlemen, proprietors of galleries of 
European fame. On the 6th, 12th, and 20th of 
June, were three magnifioent exhibitions in the 
streets, which at night were illuminated : above 
1500 pictures according to the printed catalogues 
were exposed, and the night, being lighted by 
thousands of torches, was more brilliant than that 
of the day. 

It would be idle to attempt a description. This 
year the success of the arrangements was unusually 
great, being made in such a manner as to offer a 
classified series of the great Bolognese school, 
beginning with Lippo Dalmasio and F. Francia, 
and continued down to the times of Zanotti and 
Gandolfi. The specimens of Alessandro Tiarini, 
Cavedone, Lionello Spada, rivalled the six Caracci, 
Guercino, and Guido. In the 44 loggia” of the Pa- 
lazzo Hercolani under a tent of crimson velvet was 
placed a magnificent work of Albano, which at- 
tracted universal admiration. It were to be wished 
that there had been present on this occasion some 
English connoisseur — but a true connoisseur— ca- 
pable of appreciating the Bolognese School little 
known in England, because there are few good 
specimens of it in this country. It is little known 
as a whole, and not at all in its subdivisions ; in 
which are found Masters of first-rate merit, and j 
r whose works are beautiful in themselves, and most ! 
interesting as regards the history of painting. We 
have named only the Bolognese school, but we 
i believe the same observation might be justly ap- 
, plied to the other Schools of Italy. 

FRANCE.— Paris. — Honours to Artists.— 

1 The king Louis Philippe has been pleased to give 
gold medals to M. H. Hatfield, painter of history, 

• and to M. A. Barbier, painter of landscapes and 
) interiors. 

Monument to the Memory of the Victims of thk 

• 8th of May. — Three crosses of wood had been pro- 
visionally erected in the angle formed by the Ver- 
sailles rail-road and the road called 44 des Gardes,” 
to commemorate the victims of the dreadful acci- 
dent which occurred on that spot. — An architect, 
M. Le marie, a most severe sufferer by that catas- 
trophe, has piously determined to erect a chapel on 


the spot in memory of all who died, and which 
shall contain a mausoleum for each of his own 
family who perished there. — The Archbishop of 
Paris consecrated the fonndation-stone on Mon- 
day the 4th July. A multitude of persons assem- 
bled spontaneously to view the impressive cere- 
mony. The chapel is dedicated to 44 Notre Dame- 
des-Flammes. 

PRUSSIA. — Berlin. — Royal Academy, Dis- 


Schadow being president. The report on the pro- 
gress of art for the past year which was read was 
highly gratifying, {both as regarded the Academy of 
Berlin dedicated to the cultivation of the highest 
branches of art, and also the amounts of the sub- 
ordinate art and trade schools in Berlin, Konigs- 
berg, Dantzic, and Erfurt, were most satisfactory. 


it should be so — but we cannot too strongly warn 
the youths who excel in the technical arts or in 
some branch of trade in which a degree of know- 
ledge and practice of arts is required, against 
fancying that because they have acquired distinc- 
tion in these, they have the genins or powers to 
become great artists in an independent walk of art. 
By this an admirable technical workman is often 
lost, and a bad painter or sculptor added to the 
long list of misdirected abilities. The report 
recalled the losses the Academy had sustained by 
death in the past year, among these the great and 
immortal name of Sckinkel was mentioned as 
having caused the bitterest and sincerest regret. 

Cloister Church . — The admirers of the arts of 
the middle ages will hear with delight that the re- 
storation of the Cloister Church (formerly a 
church belonging to Franciscan convent) is now in 
progress. The style of the church is a severe and 
simple Gothic, its date the close of the thirteenth 
century; it contains various pictures— especially a 
very fine one by Granach. 

King of Prussia's Present to the Prince qf 
Wales . — The object of art which, however, excites 
the greatest interest here at present, and which 
will we might almost venture to say be, when it is 
completed, the masterpiece of modern times in 
its style, is the present which the King of Prussia 
sends to the Prince of Wales as a godfather's 
gift. This gift is a shield, whose material is gold 
and gems with every possible resource of orna- 
ment which the art of the goldsmith offers. 
Stuler is the artist, and his graceful inventions for 
ornaments exceed even those of Schinkel. The 
gold and gems, however, are secondary to the 
beautiful designs for the shield, which are by Cor- 
nelius, being the first important work he has exe- 
cuted in Berlin. 

Its form is circular, and the subjects chiefly 


middle of the cross, being also that of the shield, 
is represented on a medallion the Saviour, a half- 
figure ; at the extremity of each arm of the cross 
are four medallions representing the four evange- 
lists ; and in the space between, the three Christian 
graces, Faith, Hope, and Charity, and to these 
are added Justice, the peculiar glory of whp is to 
be a Ruler. The two Protestant doctrines are 
represented, Baptism and the Lord’s Supper ; each 
are a great picture as regards the style and beauty 
of the invention. Our limits only permit ns 
farther to add, that the inner circle of the shield 
represents some event of oar Saviour's life ; and 
the last religions design is the descent of the Holy 
Spirit on the disciples, and their commission to 
preach the word. By this we are conducted from 
past to present times ; and the rest of the compo- 
sitions regard the baptism .of the young prince 
and circumstances connected with it. The religi- 
ons part of the picture is worthy to form a grand 
altar-piece in fresco, with no alteration but as re- 
gards size. 

COLOGNE.— Theceremony of commencing the 
restoration of the Cathedral is expected to be a 
very imposing one ; it is said there will be pre- 
sent the Kings of Prussia, Bavaria, Hanover, 
Belgium, Holland, Wirtemburg, and Saxony, two 
reigning Grand Dukes, an Archduke, two of the 
French Princes, sons of Louis Philippe, a Prince 
of Sweden, Sec. 


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180 


THE ART-UNION 


[August, 


RUSSIA.. — St. Petersburgh. — The Bro- 
thers Cernekoff . — These two landscape painters 
were born on the banks of the Wolga, and from 
their earliest youth devoted themselves to this 
branch of their Art. Happily a generous lady 
enabled the two brothers to extend the sphere of 
the subjects of their pencils, and in 1830 the 
younger brother, Nicanor, undertook a journey 
through the Caucasian provinces, beyond Tef- 
lis, and along the shores of the Black Sea. He 
remained for two years, and brought home 200 
most interesting drawings. In 1834 he received a 
commission from Government to visit the Crimea, 
called the Italy of Russia ; here he employed his 
pencil most happily ; and in the great collection of 
views and sketches which he has executed, we 
find admirable representations of the scenery, with 
the peculiar characters of the sky and the country 
wonderfully preserved, with correct drawings of 
the more important architectural subjects.. The 
old Palace of the Khan of Tartary at Bakcissara, 
which brings to mind the Spanish Alhambra, the 
remains of Grecian architecture in the Chersone- 
sus, the ruins of their works. Among the views 
we may especially remark the valleys of Baidar, 
of Corolez, Ac. Orianda, the beautiful country 
seat of the Empress of Russia ; Sebastopol with 
its immense pier, the largest perhaps in the 
world. Uniting great courage and perseverance 
to their talents in art, these brothers then under- 
took a journey to Astracan, but instead of making 
the voyage down the Wolga in the usual manner, 
they travelled separately down its opposite banks, 
thus producing a series of drawings, which gives a 
complete panorama of the river, during 3000 wersts, 
or 430 geographical miles, of its course ; these are 
contained in about 3000 drawings ; besides some 
others of the places most remarkable either for 
beauty, architecture, or historical interest. There 
is a representation of the great fair of Nisi- Nov- 
gorod, and a view of the ruins of the old capital of 
Bulgaria, and of Cheri* Serai, the capital of the 
Tartars of the Golden Horde. The costumes of 
the various people are also given with great 
exactness by these industrious artists. Nicanor 
and Gregory Cernekoff have already visited Italy, 
and brought many views from it ; but it is their 
intention to return to it again, and to pass from 
Naples to Egypt and Palestine, and thence to 
return to their native land. Their collection of 
views is now at St. Petersburgh, the greater part 
are in water-colours, a few only in oil. The 
Emperor has expressed his desire that a part of 
the interesting sketches of the course of the Wolga 
should be engraved and published. The brothers 
Cernekoff are members of the Imperial Academy 
of St. Petersburgh. 


ON THE MISERIES AND INCONVENIENCES OF 
PORTRAIT PAINTING. 

Sir,— I beg to venture a few remarks, through the 
medium of your impartial press, upon the relative 
situation of portrait painting in reference to almost 
every other department of Art, and with a view of cor- 
recting those mistakes in an otherwise discerning pub- 
lic, which have a most unfortunate influence over the 
practice of the art as well as over the feelings of the ar- 
tists themselves. There is scarcely another form of Art 
or science that does not carry with it the means of its 
own defence, while portrait painting seems destined to 
stand unprotected and alone. Other sciences are, for 
the most part, involved in mental difficulty or ob- 
scurity, and require some knowledge of their princi- 
ples, in order to form a judgment of their respective 
merits : or an induction into a sort of masonry, which 
can only be explained by coming into the secret. While 
this may act as a pointed frize to keep out presumption 
and pretence, the art in question is open to every rude 
attack ; and does not partake of the common securities 
of Art, although possessed of the same elements. It 
is that unfortunate department which is brought down 
to the bar of criticism through all its grades, and where 
a verdict may be pronounced by a Jury of old women, 
and adjudged by the sagacity of young children. It is 
here that the eyes are allowed to take place of the un- 
derstanding; where the artist is denied the privilege of 
seeing for himself; and where he must only look at peo- 
ple with the eyes they behold one another, or regard 
themselves. We would advert, in the first place, to 
broken appointments, arising from some trifling change 
in the weather, the dress, or the complexion, whereby 
the artist is taught what value is put upon his time ; or 
the perplexity he is frequently under when it is secured, 


i by finding some who sit, as though they had no other 
! ambition than that of looking like marble statues, and 
| relax from their natural expression till they have really 
none to take. Others, too, by what is termed “ calling 
! up looks/' arc playing off the graces in succession, and 
expect the skilful artist will catch each of them flying, 
and introduce them all into one face at the same time ; 
just as a performer might be called upon to indulge an 
impatient audience, by singing all his songs at once. 

It is not a little remarkable, that an artist will find the 
most difficulty with the intermediate ages of life; a 
struggle commences between the periods, which the 
painter too often attempts to reconcile: to a close ob- 
server there is in middle life, an effort of nature to keep 
that which it feels in dangcroflosing,andtbemusclesof 
the face, as though loth to fix, seem fluctuating between 
the relaxation of youth and the inflexibility of age ; 
and is manifested just in proportion as the subject is 
more or less animated. The sitter is seldom long 
before taking a peep in progress, and is not a little dis- 
comfited by certain markings which make their first 
appearance on the stage, and the absence of some ap- 
pendages which seem to have left it : hence, such re- 
marks as these— Are those delves so peculiar in my face ? 
Am I so destitute of hair? Ac.— questions, one would 
have thought, the looking-glass had quite settled for 
them long since. Further, to account for why the sitter 
so often quarrels with the painter for telling him the 
truth, is only to look at the new light in which he pre- 
sents him to himself, and the degree in which he will 
be disconcerted, may be ascertained by taking it in 
extent: only remove his familiarity with the glass, then 
imagine an interval of ten or twenty years between the 
first and last interview at it, and the individual would be 
positively scared at the change in his own appearance: 
if, notwithstanding, he must be obliged by a compro- 
mise between youth and age, at the expense of con- 
sistency, the most that can be done for him will be, to 
make him look like an old cherub. Or his subject may 
be some soft observer, who is continually calling off 
his attention by the most perplexing un-shcba-like 
questions about the process ; while every movement of 
the brush is watched with as much jealousy as the ap- 
plication of a tint of yellow ochre : here it is that work- 
ing-up is likely to be mistaken for finishing ; and for 
want of this spurious substitute, when the portrait is 
far advanced, it is supposed to be only in an early state ; 
and, when quite completed, may be very well when it 
is finished. Even this encouragement is all condi- 
tional, as it is promised him he shall take little Jenny's 
likeness in the event of his success, though it ordina- 
rily happens, that if the child’s portrait is ever taken, 
she must take it herself. Whatever the objections may 
yet have been, only let the picture be left, and they will 
multiply fourfold; for observe— there is, in almost 
every family, some one who passes for an oracle, who 
is consulted on every occasion, and whose decision is 
final; some dictator in ordinary, or judge extraordi- 
nary : it may be some lady who is to be considered in 
all matters of taste, down to the very arrangements of 
chimney ornaments; orsomegentleman, in whosecom- 
pass of mind all such minor affairs are included; who 
is supposed to have outstripped all the sciences, and left 
them in a condition only to be looked after. Ilie 
judgment of this infallible is sure to be on the wrong 
side of charity ; universal dispraise gives him a seeming 
advantage over those who cannot go so far in their dis- 
coveries ; he is aware he risks nothing, as those who 
may blunder in their praises upon a bad production ; 
and that the highei the excellence of the picture hap- 
pens to be, the more refined that criticism will be 
thought, which is able to slide in between comparative 
beauty and unattainable perfection. 

Then follows, in course, the deriving prejudices of edu- 
cation, even in respectable talent, and the abuse it will 
necessarily receive from uninstructed artists, commonly 
called self-taught geniuses; and a host of amateur 
artists, who, for the most part (for this is to be under- 
stood as speaking in the main), have acquired a blind- 
ness, by which they have the peculiar faculty of judg- 
ing in the dark. Having obtained that little learning, 
which is so dangerous a thing, they have just enough 
of it to prevent them from knowing how little they 
know; all the steps of their progress are only so many 
departures from truth ; each of which they must re- 
trace before they recover the natural qualifications of 
the common eye. From such, no mercy cun be ex- 
pected, whose approbation is limited entirely to what 
they do themselves. Then, as though this were not 
enough, there is the suffering competition with ill- 
judged talent, formed as it were to meet the perverse- 
ness of the human disposition, which recognises pecu- 
liarity rather than beauty ; and in proof of which their 
i productions need only be carried out into caricature 


(as seen in the political representations of the day) ; 
and they will appear even more like the men than the 
men are like themselves. Perhaps the worst effects to 
be apprehended are, the giving of out-door employment 
to many bad passions that have been long and busily 
engaged within ; which may now provide materials for 
envy to feed upon, for design to work upon ; and afford 
a cloak and shelter for insincerity against the very 
storm it may have raised itself: it becomes the medium 
through which many a grudge is paid off, and many a 
piece of flattery laid on, which could not be tendered 
or tolerated in any other way, and brings about that 
convenient season to insinuate a compliment which 
otherwise might never arrive; so that, whether the 
one party should declare that the likeness was flat- 
tered away, or the other that justice was not at all 
done to the original, the luckless artist pays the price 
of both opinions, and instead of its being the period 
that should crown his hopes, becomes only the day of 
his visitation. As a set-off to the foregoing, it is only 
doing justice to an absolute fact to state, that a gentle- 
man was once reconciled to his picture by the supe- 
rior intelligence of his little dog, who, upon coming 
into the artist's room, gave a bark of recognition, or 
note of admiration, and commenced licking the hands 
and face of his master's picture ; this satisfied him os 
to its identity, notwithstanding all that had been said 
to the contrary, and gave him, for the first time in 
his life, an opinion of his own. 

To paint, therefore, so as to please everybody, would 
indeed be a new thing ; to paint so as to please nobody, 
would be just as new ; but to paint in a manner that 
anybody ought to be pleased with, is the province, and 
becomes the duty of the able artist, in the conscientious 
discharge of which he only has to please himself; the 
only alternative that will remain for him will be, to get 
bis money, leave bis picture, and then (asThemistocles 
■ays) run for his life ! Let those who would dispute 
this, ask why it has been the practice for painters to 
frame their terms, as “ one-half to be paid on the time 
of sitting, and the other half on the completion?” un- 
less they had found, before they made such a provision, 
they were left with such an accumulating stock of un- 
fetched canvass as gave them the choice, either of tilling 
it op for their own pleasure, or of turning it to other 
account, by commencing dealers in marine-stores. 

It may be necessary just to glance at what he has to 
contend with from ignorance andcredulity, for to enlarge 
upon this there would be no end. What, for instance, 
can he expect from the judgment of those who see no 
impropriety in showing the two sides of a drum at the 
same time, and consequently ought not to wonder why 
they cannot see through a stone wall ? of those, either, 
who have no more eye for projection than they have for 
perspective? who think the off side of a three-quarter 
free should be equally shown, and regard all the auxi- 
liary shadows with the same kind of flat interest 
they see the grain on marble 7 to say nothing of one 
who, being shown the profile portrait of a person she 
had never seen, asked if the gentleman had but one 
eye. There is besides, an approving ignorance, more 
aggravating than all the rest, which helps the artist 
into many a scrape, by accounting for things that be 
never intended. The shines on the eyes are by these 
attributed to blindness, and the shadows under the 
nose for snuff; their admiration is chiefly confined to 
the execution of the claw of a table, or the clock of a 
stocking, while it is with difficulty their eyes can be 
diverted from the richness of the frame. As to the 
artist who caunot sympathize with this, he must have 
a most glorious practice, or a most enviable insensi- 
bility: to the credit of the true patrous of Art, the 
artist concedes the qualities of generosity, candour, 
and discrimination ; and they have shown him how well 
they know how to use them, but they are the exception 
and not the rule ; and it is only the occasional light 
which such may shed across his pathway that can 
cheer his labours, and enable him to puraue his profes- 
sion with comfort or advantage. 

Should these incidental remarks, by meeting the I 
eyes of the lovers of this inteiesting art, bring back ' 
some such recollections, or awaken a suspicion as to 
the real minds and motives of these kind of umpires, I 
it may have the effect, at least, of chastening the evil I 
it cannot remove ; and a greater satisfaction than that 
of merely laying a complaint, will result to your faith- j 
fill correspondent, 

Libia. ' 


Digitized by <^.ooQle 


1842.] 


THE ART-UNION. 


ART-UNION OF LONDON. 

The prizes, with two or three exceptions, are 
selected, and the Committee are making the ne- 
cessary arrangements for their exhibition to the sub- 
scribers in the Gallery of the Society of British 
Artists, Suffolk-street. The exhibition com- 
mences on the 15th instant, to continue open for 
four weeks, and will doubtless attract large multi- 
tudes ; — in fact, the first issue of tickets which the | 
Committee make (being five to each member), 
will amount to no less than 60,000 ! This is indeed 
dealing in a large way. We are glad to learn that 
Mr. Doo has undertaken to engrave for the Society 
Mulready's picture 4 The Convalescent/ Mr. 
Doo’s well-known works give an assurance that 
the subscribers may anticipate a gem of art. The 
annual report will be ready for distribution after the 


and forms, altogether, a most interesting document, 
calculated not merely to be of service to the 
Society, but to advance the interests of Art. 

The following is a list of the pictures purchased 
by prizeholders since the publication of our J une 
number : — 

The Title of Picture , Artist's Name , and Price . 

From the Royal Academy . 

Brockenh&ven, E. W. Cook, 90/. 

An Italian Widow, Severn, H.A. t 100 gs. 

Cromwell Discovering his Chaplain &c., A. Egg, 70 1. 

The Schoolmaster, C. W. Cope, 7ft/. 15s. 

The Death of Romeo and Juliet, H. Pikersgill, 65/. 

The Gipsy Haunt, If. Jutsum, 40/. 

The 44 Bourgeori Gentilhomme,” T. M. Joy, 50/. 

The Two Children, Fanny Mclan, 33/. 

Bacharach, on the Rhine, C. Deane, 30/. 

44 Soft as dew her tones of Music fall,” G. Wells, 25/. 
View of Yarmouth, A Vickers, 21/. 

The Forgotten Word, T. F. Marshall, 26/. 5s. 

Cottage on Woolpit Heath, C. Ward, 15/ 15s. 

View near Henley on Thames, S. R. Percy, 15/. 
Winchester Tower, F. W. Watts, 15/. 15s. 

A Scene near Saddleworth, F. Rhodes. 10/. 

The Nymph of the Lurley, J. M. Leigh, 21/. 

British Institution. 

The Board of Guardians, W. Cope, 105/. 

Aqueduct on the Carapngnaof Rome, G. E. Hering, 80/. 
Tasso’s Villa at Sorrento, G. E. Hering, 50/. 

The Dancing Dogs, A. Montague, 30/. 

On the Humber at Hull, T. A. Durnford, 26/. 5s. 

Little Red-Riding Hood, W. Henderson, 15/. 

Water-Colour Society. 

Hastings Beach, Sunset, J. D. Harding, 50 gs. 
Composition, J. Varley, 70/. 

Treport, Coast of Normandy, C. Bentley, 35/. 

Landscape, J. Varley, 42/. 

Grenville Coast, W. Callow, 26/. 5s. 

Augsburg, Bavaria, S. Prout, 21/. 

Fecamp, Normandy, C. Bentley, 20/. 

Scene trom 44 As you like it ” H. Richter, 15/. 

River Scene, J. Varley, 15/. 15s. 

Composition, J. Varley, 15/. 

Nesso, Lake of Como, H. Gastineau, 15/. 

Shorebam, Evening, F. Nash, 21/. 

Bolsover Castle, 1). Cox, 10/. 10s. 

At Bamberg, Bavaria, S. Prout, 12'. 12s. 

Falls of the Ktiiue, G. A. Kripp, 10/. 10s. 

Criecuelli Castle, North Wales, H. Gastineau, 10/. 10s. 
British Artists. 

Going to the Fair, Herring, 230/. 

View of Leith Hill, Surrey, W, J. Allen, 135/. 

The Gipsies’ Camp, J. W. Allen, 60/. 

The Heronry on the Findhorne, A. J. Woolmer, 40/. 
Lane Scene at Newdigate, Surrey, J. W. Allen, 25/. 
Lavinia, H. Room, 15/. 15s. 

The Last Quatrino, E. Latilla, 42/. 

One of the Buttresses of Snow don, J. B. Pyne, 26/. 5s. 
The Mountain Torrent, E. Hassell, 15/. 

At Valery Sur Somme, H. Lancaster, 35/. 

Feeding of the voung Birds, G. Stevens, 15/. 

The Village Post Boy, T. F. Marshall, 12/. 12s. 

A Scluvonian Waggon, J. Zeiter, 10/. 

Maecenas’ Villa, Tivoli, W. Havell, 10/. 18s. 

At Stanground, near Peterborough, A Vickers, 10/. 10s. 
'I he Vale of Llangollen, J. C. Holland, 10/. 

Landscape and Cattle, J. Wilson, 10/. 10s. 

Windsor Castle, W. Cranbrouk, 20/. 

Dead Game* G. Stevens, 10/. 

Ou the Yare, G. B. Croorae, 10/. 

Coast Scene, near Swansea, W. R. Karl, 10 1. 10s. 

New Water Colour Society . 

The Ford, C. H. Weigail, SO/. 

Confession before Battle, L. Haghe, 35/. 

View of Durham Cathedral, W. Dodgson, 25/. 

A BitofGossip, J. Jenkins, 25/. 

Water Mill. Northumberland, T.M. Richardson, 26/. 5s. 
Susan Holliday, J. Absolon, 21/. 

Bridge over the Pique, W. Oliver, 15/. 

Edinburgh Castle, T. M. Richardson, 15/. 

The Sketch, Miss L. Corbaux, 15/. 

A Laughing Girl, J. Wehnert, 10 1. 10s. 

View ou Wimbledon Common, H. Warren, 10/. 


ROYAL IRISH ART-UNION. 

The Committee of the Royal Irish Art-Union 
have presented to the subscribers a “ progressiopal 
Report,” from which we extract the following 
passages : — ... 

In continuation of the system we have adopted in 
giving short progressional reports, in order to satisfy 
the Society from time to time of the various acquisi- 
tions we have been enabled to make, and the informa- 
tion we have received, we beg leave to submit, on the 
present occasion, a statement respecting the final ar- 
rangements on the most important subject of the en- ; 
graving for the subscribers of the year 1842, as also 
that which we were directed to select in advance for 
the vear 1843. This being the highest compliment m 
our power to pay to an artist, as also so much of the 
reputation, not to mention tlie actual resources of the 
Society, depending on a judicious selection, it bas in 
each year been the point which has called forth the 
most anxious care and attention on the part of your 
committee. In our first year, 1840, considering the , 
acknowledged merits of Mr. Burton deserved the com- 
pliment atour hands, we were enabled by lus assist- 

ance, most readily and promptly exerted in our favour, j 

to place before our members the 4 Blind Girl at the 
Holy Well,’ so ably engraved bv Mr. Ryall, a work of 
Art which has earned for us golden opinions wherever 
it has been seen. In our second year, 1841, we thought 
this mark of respect was due to the talents of another 
distinguished countryman, Mr. Rothwell, who, on its 
being made known to him, came forward and pre- 
sented, for the purpose of engraving, his celebrated 
4 Young Mendicants’ Noviciate.* The satisfactory 
progress or this work by Mr. Sangster, au engraver of 
the highest ability, we lately bore testimony to in a 
notice of the etching proof lately received, in which 
there is the strongest assurance of our reputation, as 
well as that of the artists concenied, being very con- 
siderably advanced by the production of such a first- 
rate work of Art. We have now closed our third year, 
1842; and, acting ou the same principle, to award the 
palm of merit to the Irishman w ho has advanced the 
reputation of our country most highly in the walks of 
Art, we have this year considered it our pleasing duty 
to pay our homage to the genius of Maclise, and by 
associating his name with ours make it and his 
merits, so highly and deservedly appreciated else- 
where, more generally known and felt m his native 
country. Mr. Maciise has most cordially responded 
to our wish, and has placed one of the subjects of his 
fertile pencil, peculiarly 'veil adapted for our purpose, 
at the disposal of the Society for engraving. We al- 
lude to his picture of 4 A Peep into Futurity, or mi 
Irish girl trying her fortune— a work simple in its de- 
tails, but of great power and interest ini national point 
of view, and one likely to produce a most attractive 
and popular engraving. With regard to the engraving 
in advance for 1843, we are sure it will give unmingled 
satisfaction to our already most numerous and influ- 
ential members, and add next year very considerably 
to our list, when it is publicly known that we have 
made arrangements for the production of Air. Burton s 
celebrated work, 4 The Arran Fisherman’s Drowned 
Child,’ exhibited last year in the Royal Hibernian 
Academy, and at present in the Royal Academy Ex- 
hibition in London. The merits and high and inter- 
esting character of this work are too generally kuown 
to call for any description or comment on the present 
occasion. But in thus calling the aid of Mr. Burton s 
talents a second time in favour of the cause in which 
we are engaged, we did not think we had a right to do 
so without offering him something more substantial 
than the additional eclat which might arise from the 
general diffusion of so btautiful and interesting a spe- 
cimen of liis more matured powers. On the lirst occa- 
sion, in offering to engruve the work of an artist, tne 
Society holds itself exonerated, in a great measure, by 
paving as well as receiving a marked compliment; but 
should an emergency occur like the present, when for 
the purpose ancl general advantage of the Society it be- 
comes necessary and advisable to revert to the same 
artist, the case is different, and the Society would lay 
itself in some measure under an obligation, instead of 
asserting, as it should do, its independence of charac- 
ter. Acting on this principle, we have reed to ^award 
Mr. Burton *100 for the copyright of the above fine 
work, to be carried on, and form an item in the charge 
of the appropriate year. 

The Society, as we intimated in our last number, 
continues to flourish ; the amount of the year s 
subscriptions exceeded £3500, a sum, all circum- 
stances considered, very far beyond that upon 
which the projectors of the Institution had calcu- 
lated: and so large as, unquestionably, to have 
created a demand beyond the supply— for the 
Exhibition of the Royal Hibernian Academy, 
from which the committee was bound to select 
. the prizes, did not altogether contain pictures to 
the value of the amount contributed ; and the 
proportion of works worthy of the age and country 
was unfortunately small indeed. This evil will, we 
trust, be remedied next year ; the Irish Artists 
resident in London are bound to forward their 
contributions ; and that, too, not merely to have the 


semblance of aiding the great and good cause, but 
really and truly to advance it. They ought to do 
so, from a sense of duty, but they may do so 


l Cdl I Y OUU VI U AJ W uuiwmw **• — J J _ 

so, from a sense of duty, but they may do so 
with reference even to their own interests ; for 


Wlvll ICICI CIILU CfCU W VUVI1 Vftaa — t V “ 

now-a-days they are more certain of disposing of 
them there than they are in London. They may 
be, indeed, fully assured that if good paintings are 
transmitted to Dublin none of them will be re- 
turned. But it is an essential part of the plan of 
the Irish Art-Union to invite the aid of English 
and Scottish Painters ; not only for the sake or 

.« * _ i A. • 1 en/l 


mill OCUUISU laiuwioy HVV V«.J 

the Arts generally, but in order to stimulate and 
improve the native professors, who, with abund- 
ant natural capabilities, have been 44 sleeping* for 
years part, because their energies have not been 
roused into action. We say, therefore, and say it 
advisedly, that a new market has been opened for 
productions of Art ; and that if our better artists 
will contribute, they will not only answer their 
own more immediate purposes, but will do that 
which they are all labouring to do— ^forward the 
interests oi British Art, by bettering its character, 
extending a true taste for it, and adding largely to 
the number of those who covet the possession of 

P ictures. These are proper incentives— we cordially 
ope they will sufficiently operate. We can name 
dozens of our painters whose works would be sure 
to find purchasers in the Committee of the Royal 
Irish Art-Union. Indeed, no assurance to this 
effect can be so conclusive as the fact that every 
good work, and nearly every work, sent by an 
English artist was marked 44 sold” upon the walls 
of the exliibition. It should also be borne m mind 
that if a sum of £3500 has been subscribed thi* 
year, next year the sum will be much larger— 
probably double; and that the choice, even under 
improved circumstances, must be much leas limited 
than it will be elsewhere. 

It is really 44 too bad” to find the committee of 
the Irish Art-Unbn compelled to expend their 
funds in the purchase of inferior works, merely 
because they have not works of a better order 
offered them for sale. 

We hope these hints will not be lost upon our 
readers; we shall recur to the subject, again and 
again, as the period of exhibiting in Dublin once 
more approaches. 

There is, however, a topic connected with the 
Report of the Committee, to which we cannot 
refer with equal pleasure. They have agreed to 
give Mr. Burton the sum of £100 for the copy- 
right of a water-colour drawing ; while, at the 
same time, they have accepted from Mr. Maclise 
and Mr. Rothwell gratuitous loans of pictures for 
the same purpose. This is not, we humbly think, 
either prudent or just. For a public body— acting 
for the purpose of advancing the Arts, and not 
with a view to any personal profit or advantage^- 
to give money at all in payment for copyright is 
decidedly and distinctly wrong ; it is considering 
the artist in the light of a mere trader, indisposed 
to contribute his quota to the public good. But 
if looked upon in another light, surely that which 
is granted to one artist should be granted to 
another, and, at least, Mr. Burton should not be 
preferred to painters of far higher ability, such as 
Mr. Maclise and Mr. Rothwell.* Considered in 
any light, this preference establishes a most evil 
precedent. It will be difficult for the Society to pro- 
cure a picture hereafter without paying a copyright 
for it ; inasmuch as there are few of our more 
eminent artists who will be pleased at finding a 
minor class of Art receiving a patronage to be with- 
held from them. Moreover, the Committee have, 
we think most wrongfully, led to a conclusion — in 
thus engraving a second picture by the same 
painter— that among their countrymen there is less 

* We do not, however, mean to defend the hanging 
of M r. Burton’s two pictures— one of which is the picture 
for 44 the Copyright,” of which .*100 has been paid- 
in the miniature room of the Royal Academy ; in 
such miserable places that their merits or demerits 
cannot be tested. We venture to assert that they 
were not seen at all by one out of a hundred of 
the visitors to the Royal Academy. It would have 
been better to have rejected them altogether than 
to have thus stamped them with a mark of emphatic 
disapproval ; indeed, we were somewhat surprised to 
see these pictures hung at all, for it is a primary rule 
of the Royal Academy not to exhibit any works that 
have been publicls exhibited elsewhere; the hangers 
of the Royal Academy were of course ignorant of th« 
fact that these two pictures had both been exhibited al 
the Exhibition of the Royal Hibernian Academy, when 
they were both sold, during the summer of last year. 


Digitized by 


ioogl 


182 THE ART-UNION. [August, 

ability and distinction than the world, generally, 
behoves. There are, at least, a score of artists, 
natives of Ireland, from whose works a selection 
might have been made more for the honour of the 
country, the prosperity of the Institution, and the 
advantage of the Arts. We had been led to expect 
that the Committee of the Irish Art-Union were 
about to issue engravings that should be really 
national — one of the immortal pictures of Barry 
was mentioned — and we do most unfeignedly regret 
that they should have resolved upon striving to 
content the world for which they cater, with an 
engraved copy of a water-colour drawing, to obtain 
, which no inconsiderable portion of their funds has 
been sacrificed. 

MR. HAWKINS'S DRAWING MODELS. 

TO THB EDITOR OF THE ART-UNION. 

Sir — I find in the Art-Union — the number for 
April— a second paper on Art applied to manufac- 
ture, containing a description of tne Drawing Class 
at Exeter Hall, accompanied by observations dis- 
playing such sound judgment and just criticism as 
induces me to lay before you my own claims to 
originating an elementary system, containing 
greater simplicity and more principle than that 
which you there describe as beinp on “ a grand 
and comprehensive scale,” but which, in my case, 
has not been derived from France, and therefore 
is without the valuable claim to being far-fetched, 
which is too often thought a merit in itself. In 
March or April, 1841, I described my system to 
a gentleman, an officer of the British Museum 
(whom I then supposed to be a member of the Go- 
vernment Educational Council), and solicited his 
attention and introduction to give lectures on this 
subject, as I had prepared diagrams and models, 
and did not require any remuneration ; but he de- 
clined giving me any such assistance, when, through 
the means of a casual acquaintance, I was enabled 
to offer it to a society at Greenwich, and also at 
Woolwich ; they both accepted it. 1 lectured at 
both places in May, and apparently very success- 
fully, and offered it in the same month to the Sun- 
day-school Institute at Stepney, which was ac- 
cepted in the following September. In October I 
lectured there to a very respectable audience ; the 
principals I found convinced of the simplicity of 
the plan, but they did not think drawing sufficiently 
important to be introduced into their plan of edu- 
cation. Finding it thus difficult and slow, even to 
give away lectures on this subject, I contemplated 
publishing my lecture, but the expense of minting 
made me deliberate, when, at this time (Septem- 
ber, 1841), I first saw a set of models by a Mr. 
Deacon, the same which you describe, which, 
though highly useful in illustrating perspective, 
were evidently only on the imitative plan, and 
did not demonstrate any elementary principle, 
which, in my own system, I consider the funda- 
mental basis of simplicity indispensable for demon- 
strating the elements of form to all classes attempt- 
ing imitation. Seeing this, induced me to explain 
my scheme, and show my models to an educational 
publisher, in whose hands I had seen Mr. Dea- 
con’s models ; the publisher professed to see the 
difference, admired my plan, and kept my models 
from September until March last, when, having 
obtained them with difficulty, I immediately offered 
them to another educational publisher, who pro- 
mised to look at them, and attend a lecture which 

I gave on the 4th of April last, provided I did not 
expect any immediate compensation or profit on 
their publication ; this I was quite contented to 
forego, but the publisher’s business was in some 
other channel, and I have not been able to obtain 
any answer since. By this statement of facts I 
have no intention to make a querulous complaint 
against persons or circumstances, but am only de- 
sirous of showing to you, who are a conservator 
of the interests of the Arts and artists, how many 
impediments may be thrown in the way of that 
which originates at home, by refusing it the atten- 
tion which is so much more readily granted to 
what comes from afar — a prejudice in favour of im- 
portations, which too often makes an evil and re- 
fuses the remedy. It is necessary to explain the 
principle on which I first endeavoured to show 
that the power of representing form, called draw- 
ing, was within the reach of all classes, by the most 
simple exercise of the hand, in conjunction with 
the thinking faculties. 

I first assert and prove that all forms, simple 
or complicated, are composed of two simple parts 

these I call the elements of all form — the cube and 
the sphere, solid or hollow. The true represen- 
tation of these forms comprises the power of re- 
presenting all other forms, as all forms are com- 
posed of modifications of these two. This I have 
endeavoured to prove by using substances as mo- 
dels, considering that the imitation of lines con- 
tained a fallacy, which if it did not mislead, must 
certainly delay the comprehension of the principle 
on which, during the last year, I have made many 
experiments by teaching the very young, and the 
very stupid, and not in any one instance have I 
found it fail to produce the capability of repre- 
senting form sufficiently well to stimulate the 
powers of observation, and increase the desire for 
more knowledge. You say the “ harvest is plen- 
tiful and the labourers few not doubting the 
accuracy of your knowledge which induces this 
assertion, I suppose there may be some defect, 
causing failure, in the manner of my endeavour to 
make this system public, as I am convinced that 
the simplicity of the means will prove infallible in 
giving any person, of the most limited capacity, 
just so much comprehension of form as every in- 
dividual in civilized society absolutely requires, 
whatever may be his occupation. If 1 have not 
succeeded in ’making my plan sufficiently evident 
to arrest your attention, I beg of you to afford me 
some opportunity, not occupying more than one 
hour , to prove it to you more fully, for the sake 
of the importance of the subject and the credit of 
English artists, who are capable of originating an 
elementary system without going to France for it, 
and, as I hope they will prove, capable of execu- 
ting works that will merit and obtain for them 
that fame which has ever proved to be the great- 
est ornament to national dignity. 

I am, Sir, your obedient servant, 

B. Waterhouse Hawkins. 

57, Cambridge-street, Hy de-park-square. 

[We have been much gratified by inspecting Mr. 
Hawkins’s models, and by receiving an exposition of 
his system of teaching the young learners to perceive 
and delineate form scientifically by means of them ; 
and we have great pleasure in bearing testimony to the 
simplicity and soundness of the theory on which his 
system is based, and to the ingenuity with which his 
models are adopted to its exemplification. Mr. Haw- 
kins’s models are made on a similar scale to Mr. Dea- 
con’s, and can likewise be combined into a variety of 
figures bearing resemblances to real objects, such as 
buildings, &c. ; but they are superior to Mr. Deacon’s 
in this important particular, namely, that they demon- 
strate the geometrical solids to be the elements of 
form, and that in all kinds of shapes one or more geo- 
metrical forms are traceable in a greater or less de- 
gree. Thus the direct bearing of geometry on the 
study of form is made evident ; and the use of that 
science is experienced by the student, who is thereby 
enabled to estimate the quantities as well as the qualities 
of masses, by their analogy to the forms of geometric 
solids. Mr. Hawkins’s models may be described as 
consisting of four cubes, each cube composed of se- 
veral pieces, that on being separated disclose respec- 
tively a hollow sphere divided, a cylinder with sections, 
a pyramid, and a cone, with sections: the external 
pieces making a cube forming arches, and other shapes, 
susceptible of various combinations. There are other 
cubes, one divided into four prisms ; another enclosing 
an octangular figure, and so on ; but the four cubes 
first described are the most important ; and whore the 
expense and dimensions of the box of models are con- 
siderations, a set of four cubes, instead of six or eight, 
would suffice to exemplify the principle, and compose 
groups of objects for the learner to draw from. That 
so compact, scientific, and inexpensive a set of models 
should have not found a publisher in these days of 
educational improvements, does indeed surprise us; 
we hope this testimony in behalf of their merits may 
conduce to procuring for them that attention they so 
well deserve. That we, in common with the rest of the 
press, were entirely ignorant of Mr. Hawkins’s lectures, 
is sufficiently explained by the fact that no poblic an- 
nouncement of them was made : this is to be regretted, 
but the remedy is easy ; and we are glad to be able to 
state that Mr. Hawkins is about to give a lecture, at 
which we advise him to invite the attendance of the 
representatives of the different papers, and those who 
are interested in educational progress. It cannot be 
too often reiterated that every one may be taught to 
draw, and ought to learn ; for drawing is the power of 
seeing intelligently and marking down correctly the 
forms of things.] 

ART IN THE PROVINCES. 

GLASGOW ASSOCIATION FOR PROMOTING THE 
FINE ARTS. 

We refer to this Institution with much pleasure, 
and direct attention to an advertisement, printed 
elsewhere, which sets forth the principles on which 
it is conducted. The first year of its labours has 
passed ; and so successful has been the result that 
the 11 Committee were enabled to give an exhibi- 
tion of acknowledged merit every countenance, by 
purchasing paintings from it to the amount of 
nearly eight hundred pounds, about two-thirds of 
the sum placed in their hands by the subscribers.” 

The subscriptions thus extended to upwards 
of £1200 ; a very large sum, considering that the 
project was a new one, and that the Societies in 
Edinburgh had been for some years flourishing. 
The engraving issued by the Glasgow Society has 
been sent to us. It is of very considerable excel- 
lence ; fully worth the guinea subscribed. 4 The 
Repose in Egypt’ is from a celebrated picture by 
Pietro de Cortona. The figures are engraved by 
Wands, and the landscape by Watt, both Glaegow 
engraver* . Although the subiect may not be the 
most interesting as a work of Art, it is far prefer- 
able to many of the prints issued by Art- Union 
Societies ; and does high credit to the abilities of 
the engravers.* Out of the first year’s collection, 
the committee have been enabled to purchase pic- 
tures to the value of £786 2s. ; the number of 
prizes being 59. As this subject possesses more 
than common interest to our readers, we shall 
print the list of pictures selected as prizes 

‘ The Absent,’ by John Graham Gilbert, P.W.S.A., 
R.S.A., Glasgow ; 1 Scene in Cadzow Forest,’ by Hora- 
tio M’Culloch, R.S.A., Edinburgh; ‘ Elisha Restoring 
the Son of the Shunammite,* oy J. A. Hutchison, 
W.S.A., Glasgow: ‘ In Sight of Home— Return on 
Furlough,’ by J. C. Brown, W.S.A., Edinburgh ; ‘ Vil- 
lage of Liddes— Pass of the St. Bernard, with Travellers 
making the Ascent,’ by Thomas M. Richardson, inn., 
Newcastle; ‘View off the Dutch Coast,’ by William 
Wallace, W.S. A., Glasgow; ‘The Benighted Sports- 
man,’ by William Kidd, London ; * The Gallery 
of the Louvre, ’ by Patrick Allan, London ; 

« Juliet at the Balcony,’ by J. E. Lauder, A.R.S.A., 
Edinburgh; ‘Garth Castle, Perthshire,* by D. M. 
M'Kenzie, W.S. A., Glasgow; ‘Cattle Returning,’ by 
John Wilsomjun., London; ‘The Blessing,’ by J. A. 
Hutchison, W.S. A., Glasgow; ‘On the Coast of Nor- 
mandy,’ by J. Wilson, sen., London ; ‘ The Braw 
Wooer * by Robert Innes, Edinburgh ; * Bridge of 
Turk, Perthshire,’ by John Fleming, W.S. A., Greenock ; 

« At Fisherow, Firth of Forth— Early Morning,* by 
William M‘Ewan, Edinburgh ; ‘Telling a Secret,’ by 
Thomas Clater, Chelsea; ‘The Drachenfels, and Island 
of Nannen W’erder on the Rhine,’ by Charles Deane. 
London ; ‘ Penmaen Moor, North Wales,* by Alfred 
Clint, London'; ‘ Old Mill, near Kilmartin,* by J. M. 
Donald, W.S. A., Glasgow ; ‘ Gale at Troon, showing 
the Vessels that were driven in there in January 18X7? 
by William Clark, Greenock ; * A Fresh Breese— off 
Hamburgh Castle,* by J. F. Williams, R.S.A., Edin- 
burgh ; * Vessels off Hamburgh Castle,* by Robert 
Norrie, Edinburgh ; ‘ Part of an Aqueduct, near Tivoli, 
said to be the Aqua Claudia.’ by James Giles, R.S.A., 
Aberdeen ; ‘ Scene at Blair Athol, Perthshire,* by D. M. 
M‘Kenzie, W.S. A., Glasgow; * Robert Bums, on turn- 
ing a Mouse up in her nest with the Plough, November 
1785, finished sketch,* by Gourlay Steel, Edinburgh; 

‘ Rival Pets,* by George Simson, R.S.A., Edinburgh ; 

* Poor Lucille,* by Mrs. M'lan, Russelt-square, London ; 

* Old Powder Mill, head of Holy Loch.* by Andrew 
Donaldson, W.S. A., Glasgow; ‘The English Protestant 
Burial Ground, near Portu S. Paolo, Rome.* The pyra- 
mid was erected in memory of Caius Cestius, by F. H. 
Hinshaw, London ; * Old Age,* by Gourlay Steel, 

* We are not advocates for engraving pictures from 
the old masters, by Institutions of this character ; but 
it is certainly better to multiply copies of a good work by 
a dead artist than of an inferior work by a living artist. 

At all events, the practice of limiting the subject to be 
engraved to the prizes selected is highly objectionable 
— it is now, however, we believe, pretty generally ex- 
ploded. The London Art-Union announce two sub- 
jects by Mulready and Callcott— not purchased by 
them. In the case of the Glasgow Association, how- 
ever, the choice was thus accounted for by Mr. M*Let- 
lan “ Mr. Swan has laid the Association under the 
further obligation of making over to the committee a 
beautiful plate from a picture by * Pietro de Cortona,* 
with an impression from which each of the subscribers 
will speedily be furnished. Had it not been for this ar- 
rangement, an engraving could not have been produced 
in less time than two years, nor at less than double the 
cost charged for the plate in question.” He added, 

‘‘I trust arrangements will be made by the com- 
mittee for engraving, for next year’s Association, 
one of the pictures that was exhibited in this year’s ex- 
hibition. I believe without this the public will not be 
satisfied, nor the interests of the Association main- 
. tained.” 


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1842 .] 


THE ART-UNION 


Edinburgh ; * Loch Feachan/ by J. M. Donald, W.S. A., 
G lasgow ; * Moonlight,’ by J . B. Crome, G reat Y arm outh *, 
4 Old Mill,’ near Houston, by A. Donaldson, W. S. A., 
Glasgow ; 1 On the North River, Yarmouth — Moon- 
light,’ by J. B. Crome, Great Yarmouth ; 4 Cottage 
Scene at Luss, Loch Lomond,' by A. Donaldson, 


liarron, Edinburgh ; * Cottage scene — sunset/ by 
Francis 91ater. Glasgow ; * Cottages at Killin, Perth- 
shire,’ by D. M. M’Kenzie, W. 9. A., Glasgow; * Even- 
ing at Clewer, near Windsor,’ by A. Vickers. London ; 
* Cottage Girl Resting/ by J. Painnan, Edinburgh ; 


* A Milking Girl with Cattle,’ by John Wilson, jun., 
London; 4 Glasgow Cathedral, from Mason-street,' by 
A. D. Robertson, Glasgow ; 4 scene on Goswick Sands, 
with Holy Island in the distance/ by Thomas Fair- 
bairn, Glasgow ; * Bay of Quick, near Greenock/ by 
John Fleming, W.S. A., Greenock ; 4 Evening/ by John 
Wilson, sen., London ; 4 View near Greenock, ’ by 
William Fleming, Greenock; 4 Thames — Moonlight 
Evening.’ by J.B. Crome, Great Yarmouth ; 4 A Calm.’ 
by A. Clint, Hampsteaa-road, London ; 4 Burleigh 
Castle, Kinros-shire/ by J. B. Bennett, Glasgow; 

* View on Loch-Lomond, ' by William Fleming. 
Greenock ; 4 St. Killey’s Castle, on the Black Water/ 
by A. Donaldson, W.S. A., Glasgow ; 4 Lakes of Killar- 
ney/ by A. Donaldson, W.S. A., Glasgow ; 4 Tantallan 
Castle/ by Thomas Fairbairn, Glasgow ; 4 Dunure 
Castle. Ayrshire/ by Thomas Fairbairn, Glasgow ; 

4 Landscape, with Windmill,’ by Miss M 4 Kenzie, Glas- 
gow; 4 Composition/ by James Eadie, Glasgow. 

It is pleasant to observe that the prizes are by 
no means exclusively selected from the works of 
artists natives of Scotland. To this point a gene- 
rous reference was made by Archibald M 4 Lellan, 
Esq., at the first general meeting of the sub- 
scribers : — 

“ This,” he said, 44 will be, I hope, productive of good 
in two ways, first, by enabling our subscribers to be- 
come possessed of the finest works which msy be pro- 
duced in any quarter of the three kingdoms; and, 
secondly, it is productive of good to our resident 
artists, by exhibiting a diversity of style and manner, 
and in tasking their energies by competition, with the 
greatest talent the kingdom produces. I question 
much if an exhibition ought to he encouraged in this 
city, or if it could be maintained upon any other prin- 
ciple? An artist whose standard of excellence is his 
own works, or who measures himself by his compeers, 
is not likely to progress, and there is nothing so fatal 
to the Fine Arts as its professors resting contented in 
mediocrity. Acting upon these principles this com- 
mittee have made their selection entirely on the score 
of merit ; and of the 59 pictures which now adorn the 
walls of this room, two-thirds are by non-resident 
artists.” 

The same distinguished gentleman — one of the 
warmest friends of the Fine Arts of which Scot- 
land boasts — referred the success of the Institu- 
tion, mainly if not altogether, to the efforts of 
Joseph Swan, Esq., the secretary, an artist with' 
whose published work, 4 The Scottish Lakes/ 
most lovers of the Arts are familiar. 44 That gen- 
tleman,” said Mr. M‘ Lei lan, 44 has the sole merit 
of haying originated and carried through the sub- 
scriptions ; and much of his valuable time, for the 
last six months, must have been devoted to the 
affairs of the Association.” 

The very cheering prospect thus exhibited in 
Glasgow cannot but materially affect the character 
of the next exhibition in that town; a subject 
upon which we shall have to speak hereafter. 

Meanwhile our readers will recollect that, ac- 
cording to an advertisement in our July number, 
44 the 17th of September will be the last day for 
receiving pictures.” 

Liverpool. — Our readers will bear in mind 
that all works intended for exhibition at the Liver- 
pool Academy must be delivered at the rooms, 
Church-street, Liverpool, on or before the 7th of 
August ; they will be addressed to James F. 
Eglington, Esq., the secretary. 

Wbstmorrland. — We have great pleasure in 
observing that a taste for the Fine Arts is extend- 
ing into the wild and mountainous parts of West- 
moreland. About 100 yards north of Shap Wells 
Spa, an octagonal column, standing upon a square 
base, has been erected in commemoration of 
Queen Victoria's accession to the British throne ; 
it is surmounted by a statue of Britannia, and on 
the base are sunk panels, adorned with basso-re- 
lievos, the work and gratuitous contribution of 
Mr. Thomas Bland, of Reagill, a self-taught ar- 
tist. The panel to the south bears an appropriate 
inscription, and on the north panel, in rich relief, 
there is a wreath of palm and laurel, the emblem 
of peace and plenty, surmounted with a shield 
containing the Lowther Arms. On the west panel 
is represented the British lion, with its paw rest- 


ing upon a globe, and on the east panel a graceful 
figure of the goddess Hygeia, pouring medicinal 
water from a vessel into a shell which is held by 
an aged invalid. The execution and design of 
this work does great credit to the sculptor. 

Plymouth. — The etching of the plate now in 
preparation by Mr. Ryall for the West of Eng- 
land Art-Union promises very highly. It will 
be one of the most beautiful prints that has been 
issued by any Art-Union ; and it speaks well for 
the management of this Society, that with so 
small a subscription it has secured to its subscri- 
bers so fine a specimen of Art. 

Birmingham. — We reeret to learn that a spirit 
of disunion has been working mischief among the 
artists and patrons of Art in this town. We find 
it difficult to arrive at accuracy on the subject 
from the ex-parts statements that have been 
transmitted to ns; we shall therefore content 
ourselves, for the present at least, with laying the 
facts before our readers, and leaving them to form 
their own conclusions. It appears that a special 

S eneral meeting of the ** Birmingham Society of 
iris” has been held, “ for the purpose of con- 
sidering such measures as may extend the advan- 
tages of the Society, and authorize its manage- 
ment in future by a single Committee.” 

The Chairman read a printed statement issued 
by the requisitionists, in which they adverted to 
the present School of Drawing from the antique 
connected with the Society, and the limited scope 
of its usefulness, the average attendance for some 
time having amounted to only fourteen pupils; 
the importance of extending the system of in- 
struction, by the establishment of a School of 
Design, by which the wants of the manufacturers 
of Birmingham might be supplied, and the general 
taste of the town improved. To carry into effect 
this object, an application had been made to her 
Majesty’s Government, which had been acceded 
to on the usual conditions ; but as much inconve- 
nience was stated to have arisen from the direction 
of the affairs of the Society being confided to two 
independent committees of equal power, proposals 
were submitted for intrusting its management in 
future to a single committee, consisting of four- 
teen non-professional and seven professional mem- 
bers. The Chairman likewise read another circu- 
lar, issued by the Professional Committee, stating 
that the proposition was an attempt to destroy 
their powers as an integral and independent body, 
a proposal not only prejudicial to the best interests 
of the Society, but in direct violation of the fun- 
damental law which formed the basis of a perma- 
nent union of the artists with the Society twelve 
years ago. The professional members expressed 
their approval of the object of extending the bene- 
fits of the Academy by the establishment of a 
School of Design ; but protested against the legal- 
ity of any resolutions which might be adopted at 
the present meeting) as the 15th law of the society 
provided that no measure should be passed at a 
general meeting, unless previously approved by 
both Committees. 

After some conversation as to the mode of con- 
ducting the business of the day, Mr. P. Hollins 
rose t6 support the views of the artists, and pro- 
tested against the power of the meeting to enter- 
tain the proposition. He said that previously to 
the year 1830, the artists were an independent 
body, forming a Society of their own, the entire 
management and the tunds of which were under 
their sole control ; and they carried on two exhi- 
bitions with much success, aud gave great satis- 
faction to the town. The Society of Arts was in 
existence at the same period, but some dissensions 
took place between the bodies, and the artists 
were induced to cede some points of difference 
after a negotiation, in which it was agreed to 
unite the Societies on the principle of equal au- 
thority being given to a committee composed of 
the members of both parties ; as it was clear that 
the artists would form a very small numerical 
minority, and their interests might be sacrificed 
at a general meeting by the passing any measure 
which had not received their previous concurrence. 
Mr. H. read some passages from the laws of the 
Society to support his statement. He agreed that 
these laws were not like those of the Medes and 
Persians, unalterable; but they were terms of 
partnership, and could not be dissolved without 
mutual consent ; and he therefore contended that 
the meeting did not possess the power to entertain 
any measure which had not received the sanction 


of both committees. He denied wfista 

were averse to any improvements iir the Society? 

and maintained that from 1820 until tip tagt tfomt 
years they had given their assistance gratuitously, 
and the result was, that a similar body of artists 
could not be found in any provincial town. Mr. 
Hollins concluded by moving 44 That under law 15, 
this meeting, seeing that Uie Professional Com- 
mittee has not assented to the measure proposed, 
does not feel itself competent to entertain the 
resolution on the notice paper.” 

The Chairman then put Hie question to a 
show of hands, and declared it to be in favour of 
the resolution. — A scrutiny was then demanded, 
and the numbers were declared to be— for the 
resolution 30, against it 38 ; majority against 
it 8.— The artists, however, claimed 43 votes, 
as being entitled to two votes each ; but the 
minutes of the Society having been searched, no 
trace of this privilege was found, and the Chair- 
man declared the resolution to be lost.— Mr. Hol- 
lins said that the professional members could not 
remain any longer in the room, and they there- 
fore retired. 

Soon after they had withdrawn, the Rev. Mr. 
Lee disclaimed any intention on the part of the 
Non-professional Committee to treat the artists 
with disrespect. Fears having been expressed for 
the exhibitions of the Society from the retirement 
of the artists, he begged to call the attention of 
the meeting to the character of the exhibitions of 
the last two years. In the exhibition of 1840 there 
were 231 exhibitors, who furnished 525 works; 
of this number 23 only of the artists belonged to 
Birmingham, and the works furnished by them 
amounted only to 64; in 1841, of 246 exhibitors 
and 518 works, 29 belonged to Birmingham, sup- 
plying only 62 works. He regretted also to re- 
mark that the School of Drawing was not in such 
an efficient state as could be desired. * 

Mr. Plupson moved the following resolution : — 
“ The Unprofessional Committee having applied 
to a Board of Commissioners appointed by her 
Majesty’s Government for promoting the for- 
mation of Schools of Design, for assistance in 
carrying out the original purpose of the Birming- 
ham Society of Arts, and the application having 
been favourably received, the Commissioners hav- 
ing expressed a willingness to grant to the sub- 
scribing members of the Society a sum of money 
not exceeding that guaranteed by them— that the 
management of the Society be henceforth intrusted 
to one committee, to be composed of the president, 
honorary secretary, donors of £100, together with 
nine subscribers of £2 2s. annually, and five sub- 
scribers of one guinea, to be appointed by the 
donors and subscribers at an annual general meet- 
ing ; and also seven artists , to be chosen by the 
professional members of the Society of Arts ; and 
in case the professional members shall delay or 
omit to certify to the committee their election, 
within one month after the annual general meet- 
ing, of the seven artists to form part of the com- 
mittee as above-mentioned, the other members of 
the committee shall have power to fill up the va- 
cancies so caused.” 

One of our correspondents asserts, that the claim 
of the artists to be considered equal to all the pa- 
trons and subscribers is an unwarrantable one; 
they claim, indeed, equality on the strength of cer- 
tain terms, but the general tenor of the laws is op- 
posed to it, as well as the intentions of the parties 
to the compactof 1830. The meeting decided against 
this claim. The artists have refused since that 
time to co-operate with the Subscribers’ Com- 
mittee in carrying on the business of the Society, 
and especially that portion of it which is of most 
interest to the public — the annual exhibition. The 
subscribers, with every desire to continue the most 
friendly feelings towards the artists, require that 
the original purpose of the founders shall be re- 
spected, t. e. teaching Art for the purpose of 
improving Birmingham manufactures. The artists 
profess not to oppose the plan of extension, but 
they claim to exercise a control over it quite in- 
compatible with the interests of the Society, or the 
safety of the parties who will have to guarantee 
several hundred pounds per annum to meet the 
Government grant. 

In consequence of this unfortunate division 
there will be, we understand, two exhibitons this 
year in Birmingham — one of the productions of 
modern Art, and the other of the works of de- 
ceased masters. 


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184 


THE ART-UNION 


[Atjctjst, 


CLAY FOR MODELLING. 

Si Bearing in mind the maxim, that " Sempre 
odioso k il paragone,” I trill not attempt to make any 
comparison as to the principles upon which the ancient 
and the modem schools of painting have been con- 
structed. But it will be useful, I conceive, to call to 
the recollection of your readers the practice of the old 
masters in regard to modelliko. To this branch of 
Art they attached infinite importance, considering it to 
be the only sure means of arriving at excellence in 
their profession, and to attain which, as we learn from 
Vasari, they spared neither time, labour, nor expense, 
“ Quando io considero ineco medesimo le diverse qua- 
lit i de’ benefizi ed utili che ban no fatto all’ arte della 
pittura molti maestri,— non posso, mediante le loro 
operazione, se non chiam&rli verainente industries! ed 
eccellenti, avendo eglino massiinamente cercato di 
ridurre in miglior grado la pittura, senza pensare a 
disagio o spesa o ad alcun loro interesso particulare.”— 
Opere de Vasari , vol. ii., p. 2(15. 

In fact, they stored their minds with reminiscences 
from history and from poetry; and, gifted as they 
were with exquisite genius and fertility of imagina- 
tion, they nevertheless prudently checked its exu- 
by berance wholesome discipline, that they might 
never transgress in their works the laws which regu- 
ate external and visible nature. Availing themselves of 
all the means within the reach of art, they never com- 
menced a painting without having first well studied the 
subject; reducing it to method by various drawings, 
and by carefully modelling in clay or wax the figures 
which it was their intention to introduce; such figures 
being variously grouped, and placed in situations 
where a strong light could be made to play upon them, 
and show to advantage, and in the most striking man- 
ner, the effects of a powerful chiaroscuro, lly such 
practices they were enabled to transfer their ideas to 
canvass with a positive certainty as to effect, and with- 
out alteration in the detail. 

The last thing in a new work which they took into 
consideration was colour, its contrasts, opposition, and 
adaptation to the subject in baud. With respect to 
colour generally, they took Nature for their guide; 
but it was Nature idealized. “ La veritable science du 
coloris ne consists pas t\ donuer aux objets peints la 
veritable couleur du naturel, mais afaire eu sortc qu’ils 
paroissent l’avoir: pareeque les couleurs artiticielles 
ne pouvent atteindre & lVfclat de celles qui sont en la 
Nature, le peintre ne peut les faire valoir que par com- 
paraison, soit en diminuant les unes, ou en exngc-rant 
les autres. Un peintre qui imite simplement les cou- 
lours du naturel, telles qu’il voit, et qu’elles paroissent, 
est l’esclave de la Nature, et non pas son imitateur.” — 
Dc Piles , Dissertation, p. G3. 

Certainly artists of the 15th and 16th centuries were 
men of extraordinary mental cnpacity and resources i 
the extent of their acquirements fills us with astonish- 
ment—” Krano i medesimo e scultori, e lomlitori di 
bronzi, ed orefici, e uiellatori, epittori, e tnlvolta archi- 
tetti; argomento d’invidia per la eti nostra, ove un 
nrtctice nppena basta ad un* arte. Tale era in Firenze 
il ma^istero entre gli studii, e fuor di essi J’eccita- 
mento : onde al lettore non pain stiano che quelia citt A 
fosse la prima in Itulia a signare i be’ giorni dell ’aureo 
secolo.” — Lanzi, vol. i. p. 56 . 

They were at once sculptors, founders in bronze, 
goldsmiths, chasers, painters, and oftentimes also ar- 
chitects— acquirements which raise a feeling of envy 
in our da>s, when one Art is hardly to be acquired by 
each artist. So great was the emulation among the 
students, and so great was the encouragement held out, 
that the reader will not be surprized that this city was 
the lirsit in Italy to mark the bright period of the 
golden age. 

Kaffaelle, Michel Angiolo Buonarrote, Titian, and 
Baroccio, were most careful and diligeut modellers, 
both after nature and the antique. 

A number of the clay models of Coreggio were re- 
cently discovered in Italy, in a convent, the walls and 
ceilings of which he adorned in fresco. 

Of Leonardo da Vinci, it is reported that — «* S’im- 
pegnt) a far cosa Anita, non solo perfeziond le teste, 
contraffacendo i lustri degli occhi, il nascer de’peli, i 
pori, e fina il hattere delle arterie ; ma ogni veste, ogua 
arredo ritrasse minutamente, ne’ paesi aucora niun’ 
erba espre«se, e niuna foglia di albero che non fosse un 
riiratto della scelta natura.”— Lanzi, vol. iv. p. 189. 
He strove to do everything; not only to perfect the 
head, counterfeit the retlection iu the eyes and the 
pores of the skin, and even the beating of the arteries, 
bat each garment, each ornument. was separately and 
minutely pourtrayed; and iu his landscapes, there was 


not a herb or a tingle leaf of a tree which was not a 
separate portrait from Nature.) 

Vasari tells ns, “ That it waa Leonardo’s practice to 
model figures from life, the and then to cover them with 
fine thin lawn, or cambric, so as to be able to see 
through it, and with the point of a fine pencil to trace 
off the outlines in black and white ; and that some such 
drawings he had in his posseesion.” — p. 24. 

Of Tintoretto it is related, that he was often accus- 
tomed to design by lamp-light, for the sake of the 
strong shadows, that be might thereby render himself 
expert in the representation of a powerful* chiaroscuro. 
For this purpose he made models of wax aud chalk, 
and, after draping them with extreme care, placed 
them within little houses which he constructed out of 
pasteboard, each having a window to regulate the light 
and shadow. These models he suspended, too, with 
threads from the ceiling, in sometimes one and some- 
times another posture, and designing them from va- 
rious points of view, he acquired a knowledge of the 
art solto in su (foreshortening on ceilings), the prac- 
tice of which was not understood as well in his school 
as in that of Lombardy. The accouut will be found in 
Lanzi, vol. iii., p. 140. 

Andrea del Pozzo never drew anything without pre- 
viously making a model of it, to ascertain tbe right 
distribution of light and shadow. 

Mantegna and Bramante covered their models with 
glued canvas or with pasteboard, to enable them to 
draw the folds and curvatures accurately. 

Simone Cantarini da Pessaro was particularly zealous 
in the modelling of his figures, and careful about the 
folds in their draperies. 

Dentone retained iu his employment a skilful model- 
ler of figures, und even of flowers, &c. ; and 

Carlo Ciguani (who may be called of painters “ nlti- 
mus romauorum”) modelled in clay or wax every figure 
he painted. 

It would be easy to multiply examples of this kind ; 
but I trust those already given will be sufficient to 
establish a case in favour of modelling. 

Let it not, however, be supposed that I wish It to be 
understood, from what 1 have said, that the old mas- 
ters formed their models entirely after their own ideas 
of symmetrical beauty : on the contrary, they modelled 
from the life, and with their own hands. 

The introduction of lay figures into the studio of tbe 
artist, I apprehend to be a very expensive invention, 
not to be commended, since, however well constructed, 
they can never be made to assume easy attitudes. 

1 have thus concisely shown by what method the aid 
masters established their reputation, and raised the 
character of Art. And as we studiously copy their pic- 
tures, with a view to improve and refine our taste, and 
to guard us from falling into the error of mannerism 
(an error which hastened the decline and fall of all the 
old schools of painting) ; surely it would be highly praise- 
worthy to return to the same practice (of modelling) as 
was pursued by the old masters in the composition 
of the very pictures which we so studiously copy. 
These same old masters enforced upon their pupils the 
absolute necessity of copying and of modelling; and 
tbe same reasons for doing both exist now. 

1 here subjoin a recipe for the composition of model- 
ling clay, which, being very plaatic, may be moulded 
in any form, which will not crack, and which may be 
worked by the hand of the most delicate lady. It ad- 
mits also of being carved, when dry, with a knife or 
chisel, and of being smoothed with a Dutch reed. The 
artist, therefore, who uses it, will be enabled to remu- 
nerate himself for bis time and labour in making mo- 
dels, by the sale of them after they have served the 
purpose for which they were made : while tbe amateur, 
to whom time and labour are of no such value, may be 
preserve his models for the admiration of his friends, 
and hand them down as heir-looms to his posterity. 
My recipe for making modelling clay, or “ terra cotta,” 

Soft red cloy, 4 pounds ; Finely-powdered red rock 
soapstone, 1 pound. Knead them well together with a 
wooden spatula, and work them with the hand. A little 
water may be added if necessary, but the clay must be 
kept stiff euougb for modelling. 

This cluy may be kept in a damp place to be ready 
for future uae ; and when the models are finished, they 
should be set aside in a wann room to dry, and then 
finished off, polished if necessary, and baked. 

Sir, yours, &c., H. 

* It was the abuse of this practice which led Cara- 
vaggio, and those of his school, to introduce hard and 
violent shadows in their pictures. Even Guido had, in 
his early pictures, neariy fallen into the same bod taste. 


VARIETIES. 

Royal Commission of Fine Arts. — We 
direct attention to an advertisement printed in 
our first page. The Commissioners have, it ap- 
pears, resolved to extend the time for sending in 
the cartoons from the first week in May to 
the first week in June 1843. This is a judicious 
change. The months of March and April are 
usually very important months for artists ; pre- 
paring for the annual exhibition during the one, and 
recruiting strength by necessary relaxation during 
the other. Giving the whole of May to complete 
the cartoons is, therefore, a valuable boon. It will 
be observed also, that foreigners, long resident in 
Great Britain are permitted to compete— an ar- 
rangement to which there can be no possible ob- 
jection. The cartoons, it must be remembered, 
are to be sent in without frames. In this adver- 
tisement, however, there is one point that merits 
especial notice—** the secretary of the commission 
is empowered to give such further explanations 
as may be required relative to the terms qf this 
and of the former public notice .” Artists, there- 
fore, will have no excuse for ignorance upon any 
point upon which information ought to be ob- 
tained. We have already heard some doubts ex- 
pressed as to their precise line of duty — among 
others, whether the term ** cartoon " is to be 
literally construed, and whether a drawing may 
or may not be made upon canvass. Sure we are 
that the accomplished secretary to the commission 
will readily and gladly act as a guide upon this 
and all other matters. Indeed, we presume 
it was at his own suggestion that this para- 
graph was introduced into the advertisement. 
Already, as we know, preparations are making 
for the contest ; but we implore those artists, who 
deign to compete, not to procrastinate until haste 
and incompleteness will be the necessary conse- 
quences. Procrastination is not only “ the thief 
of time/* but very frequently the assassin of re- 
putation. It is a too common error to imagine 
that the impulse of genius will suffice without 
matured thought and deliberate study. He is a 
very unwise person who persuades himself that 
the work produced to-day cannot be improved 
to-morrow. Earnestly do we hope for the glory 
of the country, and the honour of the artist, thf 
the result of a first Government effort to sustain 
British Art, wUl be such as to exhibit the wisdom, 
as well as the generosity, of confiding the task 
exclusively in the hands of our own painters. We 
trust, also, that they will so come out of the trial 
as to take from the foreigner the power to institute 
comparisons disadvantageous to them. Let our 
British painters bear in mind that they are not 
about to produce works to be closeted, or kept 
for the enjoyment of a few ; they wiU be subjected 
to a perpetual exhibition, and a continual criticism 
by a whole nation— and that for ages yet to 
come. The ** Report” of the Royal Commission will 
be issued, we believe, within the present month. 
We shall, of course, lay before our readers all 
such parts of it as may be interesting or important 
to them. 

The Royal Academy.- In the House of 
Commons, on the 14th of July, Mr. Joseph Hume 
made a long speech in approval of the plan for ex- 
tending facilities for the admission of the public to 
such public institutions as contain objects calcu- 
lated to afford to the public information or enjoy- 
ment — or both. It will be seen, by our comments, 
elsewhere, that, so far, we have the advantage of 
going, hand-in-hand, with the honourable member. 
But instead of being satisfied with having made 
oat a good case, he departs from his proper path to 
make another attack upon the Royal Academy. 
His words are these : 

** He wished he could say anything in favour of the 
Royal Academy ; bat he tonnd them, who ought to be 
the patrons of Art aud taste, more inexorable than any 
others. A sum of j6f50,000 had been expended by the 
public to provide them accommodation, and surely the 
public had a right to derive some advantage from hav- 
ing done so. He wished them to permit the exhibition 
to remain open gratis for a week or a fortnight after 
those who paid had seen it, or to be open for one day 
in the week during the time of exhibition. He be- 
lieved them to be the only body in Europe who did 
nothing towards the promotion of those objects for 
which it was established.” 

Now it is really most discreditable to the age and 
country that— in the first deliberative assembly of 
the world — so false and absurd a statement should 


Digitized by VjO( 3gie 


1842 .] 


THE ART-UNION, 


185 


obtain currency. Mr. Hume is perfectly cogni- —will contain 22 mezzotint engravings (by D. cap stakes, and merely trot their favourite artist 

z&nt of the fact, that £50,000 has not been ex- Lucas), from pictures by Mr. Constable; but as over the course. 

pended “to provide accomodation for the Royal the edition will be limited to 250 copies it will Her Majkstv’s Bal Costume. — We have 
Academy ;” and he knows equally well that it is be neccessary for those who desire to become sub- been favoured with a sight, at the house of Messrs, 

untrue to say the Royal Academy has “ done scribers to communicate such desire with little loss Paul and Dominic Colnaghi and Co. of a series of 

nothing towards the promotion of those objects for of time. The object is, obviously, to do honour drawings by Mr. Coke Smyth, intended for a 

which it was established.” The national assem- to the artist’s memory, and not to make a mere work of which some numbers have been already 

blage of holes and comers, called the “National publishing speculation of his fame. published, entitled ‘ The Souvenir of the Bal 

Gallery,” may have cost, we believe did actually The School or Design. — An interesting de- Costume.’ They are in style very free, and the 
cost, £50,000 ; and to the portion of it which be- bate on this subject took place in the House of colouring been made out by merely a wash of 
longs to the nation, the public is admitted free; Commons on the 14th of July; Mr. Ewart water-colour over the pencilling, all the lines are 

not only free to walk through the rooms, but to moved — “ That it is expedient that the Govern? visible; they have been executed in a manner ra- 

examine the costly works with which the nation ment School of Design be formed into a central pid and decided, evincing much skill and power, 
has furnished its walls. To demand for the public normal school, for the instruction of teachers of de- We have seen one or two of the plates after these 

an equal right over that which they have not paid sign, in communication with other schools of de- sketches, and conceive that as costumed figures 

for — either in reference to the building or the sign throughout the country ; and that the gene- they could have been given in no other manner so 
furniture — is ridiculous as well as unjust, a course ral recommendations of the committee which re- advantageously to effect the desired object— that 
that no honest mind could recommend or require, ported on this subject in the year 1836 be adopted.” of describing the attire worn by each individual 
The National Gallery (taken as it was by the We learn from the reply of Mr. Gladstone that on the occasion of that superb assembly— the 
Royal Academy in exchange for their apartments “ the council had decided upon affording assist- splendours and variety of which could only have 
in Somerset- House), is as much the property of ance for this purpose in five instances, and were been paralleled during some of the chivalrous 
the Royal Academy as are the books in which they of opinion that six schools or more, if it were ad- reigns, imbued with the spirit of honneur aus 

enter their minutes. It is too bad that this insult visable, should be established in the provinces, dames, for the pageants of tne times of the Tudors 

to the common sense, common justice, and com- The places upon which they had already decided were rude and fantastic. Many of these drawings 
mon integrity of the British people should be re- were Manchester, Birmingham, Norwich, York, are excellent portraits, as well as illustrations of 
peated again and again in Parliament. We have and Coventry. The sixth was still under con- costume. We may mention as most striking in 
canvassed the subject often ; and need not occupy sideration. It was the intention of the council to this particular Viscount Sidney, the Earl of Arun- 
space in repeating either arguments or proofs, appropriate a sum to each, partly in aid at the del, the Marquis of Ormond, the Marquis of Exe- 
Mr. Joseph Hume is fully familiar with both ; and outset, and partly as a salary for the maintenance ter, Lord Forester, the Hon. Miss Stanley, Col. 
knows sufficiently well that his statements are de- of a teacher for a certain number of years.” Wylde, Lady Wilhelmina Stanhope, the Duke of 
partures from truth. On the 25th the topic was This is at least doing something ; it is at all events Devonshire, Lady Palmerston, &c. &c. Her 
again canvassed, on the occasion of granting the making a move in advance. Mr. Wysa added. Majesty wears the robes of Queen Philippa, as- 
enormous sum of £1450 for — the purchase qf pic* “ that one of the principal objects of the council certained from the usual authorities, wearing the 
tures in Me National Gallery I Upon this was to ascertain whether a strong desire existed hair plaited at the sides, a fashion which prevailed 

occasion, however, it consisted with Mr. Hume’s for the application of arts to manufacture, and on also in the reign of Edward the First; and the 

policy to consider the “ £50,000” as having been inquiry it was found that an earnest wish existed dress of the Prince is the mantle and dalmatica. 

spent, not for the accommodation of the Royal in every large town, where great branches of trade Perhaps no reign could have been selected as 

Academy, but for the Nation ; and therefore he were established, to avail themselves of the ad- affording a greater variety of costume than that of 

proposed that the Royal Academy should have vantages now offered.” We hope ere long to Edward the Third, during which sumptuary laws 
“ notice to quit,” inasmuch as the nation wanted supply our readers with some more minute and were enacted, prescribing certain forms to each 
their apartments. Upon which Sir Robert Peel, detailed information on this all-imporlant topic, rank. The fashion of that time was not less ca- 
with the manliness and sense of justice natural to and to show that the establishment has been pricious than at the present day, for the Monk 
him, replied that “when the Academy were de- already brought to bear advantageously upon the of Glastonbury complained “that Englishmen 
prived of the eligible apartments they formerly held manufactures of Great Britain. Sure we are that haunted much unto the foly of straugers, that 
in Somerset-house, it was on the distinct assurance if the annuul grant be insufficient— and we believe every year they changed them in diverse shapes 
of receiving other rooms in the National Gallery ; it is— for all necessary purposes, the nation would and disguising* of clothing.” 
and it was just that good faith should be kept by the very willingly increase it, and thus add largely to Artists’ General Benevolent Jnstitu- 

public towards a body which he believed to be of the national wealth. We fully agree with Mr. tion.— The annual general meeting of this admi- 

considerable public advantage.” This is quite suffi- Williams in considering it to be “ impossible to rable institution takes place on the 1st of August, 

cient. But we hope the day is at hand when the cultivate the art of design so as to benefit manu- “ to receive a report from the directors on the state 

whole of the National Gallery will be used for the factures, unless the parties understood the nature of the funds of the society; to elect eight direc- 
national property in pictures. of the manufacture as well as designing. He be- tors in lieu of those who go out by rotation, and 

The Exhibition closed on Saturday the 23rd lieved there was as much talent for design in this other officers of the institution, and also for the 
of July. We understand the receipts have been country as in any other, but unfortunately no purpose of receiving the charter of incorporation, 
far greater than during former years— than those pains had been taken to cultivate it. The feeling and to take such measures as are consequently 
of any year, indeed, except the first after the re- which existed among the higher classes of this necessary in relation of the laws of the institution/’ 
inoval from Somerset House ; we mean the receipts country, that there was a want of taste in our We earnestly hope that the public sympathy may 
for admission and for catalogues. But the sales manufactures, had been very detrimental to them, be largely excited in favour of a society second to 
of pictures have been also considerable. Our He would mention a curious instance illustrative none that exists in reference to the good it does, 
readers are aware, however, that a large majority of the effects of this notion. A gentleman whom and the t cants, to relieve which it is established, 
of the works exhibited are “ commissioned,” and he knew shewed him a specimen of a pattern he Charity is laudable, directed into any channel; 

consequently not exhibited for sale. had introduced two years ago, and which had then the mechanic and the day-labourer are worthy 

The late John Constable, R. A. — We per- been utterly unsuccessful. The proprietor was objects for relief ; no matter how humble maybe 
ceive with exceeding pleasure, that a memoir of obliged to part with the greatest portion of the a man’s position, it is a duty to relieve him, in 
this accomplished painter and estimable gentleman stock at a loss, retaining a small quantity in his suffering, in sickness, or in poverty. But surely 
is about to be published, together with “ selections hands. A French manufacturer got one of the those will not be charged with narrowness of mind 
from his letters and other papers,” and “ notes of pieces in his hands, introduced it this year as the who consider that the strongest claim is advanced 
his lectures on the history of landscape-painting.” newest French style, and it had sold 40 per cent, upon their sympathies by men whose more refined 
Such a work cannot fail to be an acquisition of higher than before. There was, in fact, a want of pursuits have made the struggle with pecuniary 
rare value to the artist, and to all true lovers of the confidence in the public mind as to the taste difficulties, far more severe than it can be to the 
Arts. Constable was a roan of high genius, who of our manufactures ; French designs were uni- rude and uncultivated. 

received in his day less fame than he was justly versally adopted in England while our own Medal to Commemorate the Baptism of 
entitled to ; he lived on, however, and worked on, were rejected, though he would maintain that the Prince of Wales. — We hail with feelings of 
under the conviction that an after generation would the taste of English designs was very much satisfaction the increased and increasing taste for 
more rightly appreciate his merits. This recoin- superior.” medallic engraving in England. Debarred from 

pence has not been postponed even so long as he The Wilkie Statue. — The committee have placing on the reverses of our national coinage the 
anticipated; and though it is paid but to his me- confided the execution of this work to Mr. S. picturesque and classic groups which have rendered 
mory, still it is a triumph to find that it is paid. Joseph. The candidates were seven in number, the early Greek and Roman coins interesting for 
Already the world is beginning to comprehend his and the result of the ballot was — for Mr. Joseph, ever to the scholar and the historian, and fixed 
value, and to mourn over a treasure lost. Within 26 votes ; for Mr. E. H. Bailey, Mr. T. Campbell, down to the manufacture of reverses that threaten 
a very few years his pictures will be sought for as Mr. Henry Weekes, and Mr. L. Watson, three to become every year more commonplace than 
eagerly as are those of Wilson — neglected also in votes each ; for Mr. Lough and Mr. C. Marshall, even heraldry can make them, the only means left 
his day. Alas ! that the ear should be deaf to the no vote. We have no right to complain of the deci- the artist in this particular line of study, to afford 
voice of the charmer I but, after all, the conscious- sion of the committee. The sculptor they have his imagination scope for the display of his pecu- 
ness of deserving applause is perhaps the best selected is, in their opinion, the person best qua- liar art, is a series of national medals commemo- 
reward for having deserved it. We rejoice also lified to execute this monument ; but as a prece- rative of the more striking events that pass before 
that the task of commemorating the career of so dent, it is much to be deprecated that committees. us. The name of W yon has, by the force of ita 
good and true and useful an artist has fallen into having already virtually elected an artist, should own talent, and against many adverse circum- 
safe hands. The work, to which we refer is an- subject others to the loss of much valuable time stauces and their seif-consequent evil operations, 
nounced as arranged by Mr. Leslie, — an artist, rather than at once declare their election. There atchieved for itself a European reputation of no 
whose intellectual capabilities are held in large re- has of late been too much of this sort of thing, mean importance, and raised our national coinage 
pute by all who know him ; and who exhibits Committees, generally, instead of coming with as high at least in the scale of artistic beauty as 
mind of the best order in every production of his clean hands to the disinterested discharge of a dele- that of any of the surrounding nations. We are 
pencil. The volume— to be issued in Imperial 4to gated duty, make their business a matter of handi- glad to find these artists employed upon what we 



ogle 



186 


[August, 


would fain hope to be the commencement of & 
series of medals that should record the events of 
our Queen’s reign, and form a generous rivalry 
with the famous Napoleon scries. The grace ana 
elegance of the medal to commemorate the Queen’s 
Visit to Guildhall has not been excelled in this par- 
ticular branch of the Fine Arts ; and the medal by 
B. Wyon, now lying before us, recording the Bap- 
tism of the Prince is no unworthy successor. It 
exhibits on the one side the bust of his Majesty of 
Prussia, Frederick William the Fourth, the coun- 
tenance possessing the strength of feature for which 
that monarch is remarkable, combined with an 
elegance and intellectuality that high Art alone has 
at its command. The hair is well expressed, being 
simply and gracefully brought forward in masses 
that might apparently be broken into separate 
hairs, but without the “ wiriness” that inferior 
artists find necessary to make use of. The reverse 
possesses much originality where but little was to 
be expected ; it is an heraldic display of the Arms 
of the King of Prussia, of her Majesty Queen 
Victoria, and the Prince Albert, each surmounted 
by their appropriate crown ; they are placed upon 
the coronet and feathers of the Prince of Wales, 
which forms a graceful background to the design 
as they bend over each shield. The general effect 
of this beautiful reverse is regally gorgeous, and 
great taste has been expended on its design. The 
raised border surrounding the shields, upon which 
the motto “ Sponsor et Hospes,” and the date, 
“ xxv Jan., mdcccxlii,” is placed, is beauti- 
fully relieved by the burnished centre upon which 
the shields are placed, and which gives an extra 
richness and solidity to a design, that alto- 
gether is exceedingly successful. Those persons 
who have seen the earliest attempts of the older 
medallic engravers to give a fleshy texture to their 
heads by corroding the surface of the die, and 
which in some instances too much resembled the 
ravages left on the countenance from the small- 
pox, will not fail to notice the exquisite manner 
in which our modern medallists produce this effect 
by precisely the same means, and with the best 
result ; the delicate fleshiness of their heads, re- 
lieved as they are by the burnished surface of the 
medal, have the happiest effect ; indeed medallic 
engraving can now vie with any branch of the 
Fine Arts successfully. The Art- Union of Lon- 
don at their last meeting declared their intention 
of including this branch of the Fine Arts among 
the others they patronise : this seems to promise 
well for an art too little cared for by our fellow- 
countrymen, and may help to bring forward our 
able native professors into that notice and attention 
which is now too much devoted to the productions 
of foreign artists in this department, and which 
may end in the creation of an English series of 
medals that may rival that of France and other 
nations. 

. Murillo. — We have had an opportunity of 
inspecting a figure, apparently by this master, at 
No. 15, CO'Ckspur-street. the property, we be- 
lieve, of a Spanish gentleman, who has imported 
it. It is a single figure, St. John of Seville, wear- 
ing a monastic habit, and in the act of prayer. It 
is undoubtedly a fine picture — round, substantial, 
and instinct with life ; but it has suffered great 
injury, and has been very badly repaired. From 
the shoulders depends a white cloak, painted very 
simply, but so well that it leaves the canvass. 

Carving in Bog-oak. — One of the most ele- 
gant and beautiful carvings we have seen has been 
exhibited by Mr. John Aslcen, a jeweller in Dublin, 
PJ e yi QQ * to its transmission as a present to her 
Majesty. It consists of an Irish harp, hanging on 
a willow, guarded by an Irish wolf-dog, with re- 
presentations of the round tower and other objects 
peculiar to Ireland. The workmanship is remark- 
ably fine. The work is cut from Bog-oak, found 
in great abundance in the Irish bogs. It is per- 
fectly black and very hard, and capable of being 
wrought with great delicacy ; moreover, it receives 
a. high polish. The value of this graceful produc- 
tion of art is enhanced by the skilful introduction 
of Irish gems — the ruby, amethist, and diamond, all 
set in Irish gold. 

Greenwich Hospital.— The Painted Hall 
and Chapel will in future be open to the public, 
free of charge, on Mondays and Fridays, from ten 
to seven in the summer, and from ten to three in 
the winter. This has been done in accordance 
with the recommendation of the Select Committee 
on National Monuments. 


THE ART-UNION. 


Westminster Abbey.— The Dean and Chapter 
contemplate putting a painted glass window in the 
south transept of the Abbey. In a report which 
they have presented to Parliament they express a 
resolution to appropriate a portion of their funds 
to this purpose. 

Opening Public Monuments. — A meeting 
of the Society organized for the purpose of facili- 
tating the admission of the public to national 
monuments,. was held on the 13th of July at the 
Thatched House; Mr. Hume, M. P., was in the 
chair, and Lord Colbome, Mr. H. T. Hope, 
Mr. Ewart, M. P., Mr. Britton, Mr. Donaldson, 
Mr. Angerstein, M. P., Mr. Milnes, M. P., Mr. 

Mr. John Wilks, and others, were present. 
The Society has already done much good, and 
moreover is evidently increasing in number and 
influence. Lord Manners Sutton and Mr. Wilks 
were added to the Committee, and several new 
members enrolled. After the Report had been 
read a number of propositions were made and dis- 
cussed, and Mr. Godwin suggested that many of 
the city companies had collections of pictures 
which might with good effect be opened occasionally 
to the public. A gentleman present said he had 
no doubt the Paper-Stainers’ Company, for one, 
would at once act on the suggestion. An account 
of some of these collections, which are little known, 
will be found in the early volumes of our journal. 
Many of the pictures are suffering greatly from 
neglect, an evil which would probably be remedied 
if they were occasionally exhibited to the public. 
Mr. Angerstein mentioned that the pictures in 
Dulwich Gallery, notwithstanding it was much 
frequented, appeared to be greatly neglected, and 
were in consequence injured. 

New Exhibition at the Adelaide Gal- 
lery. — A series of 44 resolutions” which usher to 
public notice the establishment of a new exhibition 
of works of Art in London, have been circulated 
among the artists. Wide as is the fame acquired 
by the Adelaide Gallery as a place of public resort, 
we look with considerable doubt on the prospects 
of success held out to artist-exhibitors at this 
well-known lounge. Great as may be the induce- 
ment afforded by the fact that the Art-Union 
Society will here recognise the selection of pictures 
which have been previously exhibited in the Me- 
tropolis, there are many points which require to 
be elucidated before such a proposition can be 
sure of proving profitable either to the proprietors 
of the Gallery or the contributors to the exhibition. 
We are not aware, as yet, of any announcements 
stating the authorities to whom the selection of 
pictures is to be confided, or the parties to whose 
taste and judgment the 44 hanging” is to be sub- 
mitted. These are important data still in requi- 
sition in order to form a judgment of the advan- 
tages likely to be derived from the opening of J 
another exhibition. So much positive dissatisfac- 
tion has naturally arisen from the conduct of 
matters at the British Institution, even although 
under the guidance of gentlemen who individually 
command the highest respect, that we can readily 
imagine there will be many artists who will wel- 
come any further offers of accommodation for the 
exhibition and sale of paintings. A capable ex- 
ecutive at the head of such an exhibition, with a 
strict unflinching determination to treat every 
artist’s works according to the real merit displayed 
by them, would alone ensure success. But there 
must be satisfactory .assurances on all these points. 
Although we can ill spare the requisite room, it 
may be advisable to print 44 the Resolutions/’ 
ROYAL ADELAIDE GALLERY. 

The Proprietors of this institution have adopted the 
following resolutions: — That in future the walls, and 
some other portions of the establishment, shall be 
devoted to annual exhibitions of paintings, sculptures, 
and other works of Art.— That to facilitate the sale, 
every work of Art on being deposited be accompanied 
by tne name and address of the artist and actual price 
of sale, in order that it may be published in the cata- 
logue. — That the first annual exhibition shall com- 
mence the first week in July, 1842, and terminate the 
last week in September of tne same year, and consist 
solely of works by living artists.— That works intended 
for the first exhibition be sent in for approval on or 
before the 20th day of June. — That in succeeding years 
the annual exhibition of works by living artists shall 
open the first week in March, and terminate the last 
week in July ; and, that works for exhibition must be 
sent in for approval on or before the 14th day of Febru- 
ary* — That in the intervals between the months of 
September of the present year, 1842, and the month of 
March, 1843, and between the months of July, 1843, 
and March, 1844, in the same and succeeding years, the 


same portions of the institution be devoted to annual 
exhibitions of works by the older masters. — That the 
expenses of transit, &c., be borne by the proprietors of 
the various works. — That every possible care be taken 
of the various works deposited, and that no chaise be 
made to the artist or proprietor, except a commission of 
five per cent, in case of sale. — That every’ person ex- 
hibiting a work or works of Art be entitled to a free 
admission to the gallery, so long as such work or works 
remain under the care of the proprietors. 

Wm. Jones, Director. 

M. Claudkt, at the Adelaide Gallery, has lately < 
made some full-length portraits of much beauty. | 
Instead of employing a qualified light his sitters j 
are generally placed in the open air and even in the 
sun, where certain results are to be obtained. With 
a little more attention to the backgrounds of 
these momentary transfers there would be a corre- 
spondingly improved effect, the same background 
being by no means suitable to every brad. A 
background composed of trees or architecture 
should be so painted that the objects do not tell 
with severity against the sky, otherwise it fre- I 
quently occurs that they exceed the figure in sub- ! 
stantive importance. M. Claude has lately pho- 
tographed some of the corps de ballet of her Ma- | 
jesty’s Theatre grouped in character — the figures i 
are perfectly successful, and form the largest plates 
we have yet seen. 

The Temple Church. — The much talked of 
reparations and adornments of this interesting 
building, to which we have already directed the 
attention of our readers several times, have made 
considerable progress since our last notice. The 
three windows at the east end, and one window on 
the south side, are filled with panes of 44 thousand 
colourings,” admirably executed in imitation of 
glass of an early period, by Mr. Willement, and 
produce an extraordinary richness of effect. The 
painting of the vaulting in the square part of the 
church is completed ; the openings are surrounded 
by Latin texts in ancient character ; the Purbeck 
marble columns arc all polished ; and some of the 
carved oak stalls, with which the old pewing is to 
be replaced, are fixed on the north side. These 
are of elaborate design, mostly different, and are 
well carved ; they nevertheless lack that freedom 
and raciness which characterize many original 
works of the period, and give evidence of our 
want of a middle class of artists for decorative 
urposes. We would not have it understood, 
owever, but that many of them are exceedingly 
well done. The three easternmost compartments 
of the vaulting have a dark ground instead of the 
buff colour on which the decorations of the rest of 
the vaultings are painted, and produces a superior 
effect. Some of the colours in the latter portion 
seem to have faded slightly, but without injury to 
the general appearance. The former discordant 
altar-screen has given place to an arrangement of 
arches and small pillars in accordance with the 
building, the whole being painted and gilt. The 
glass of the centre window on the north side has 
been taken out, and a building has been raised 
beyond it to receive the organ, which formerly 
served to separate the circular nave from the 
choir ; the two portions of the bnilding will now 
be thrown into one, by which means an agreeable 
intricacy of outline will be produced, and much 
perspective effect gained. The circular building 
will be painted to accord with the choir, indeed 
the decoration of the vaulting of it is nearly com- 
pleted. The successful termination of this first 
attempt in England, on a large scale, to revive 
poly-chromatic decorations of buildings, cannot 
fail to be regarded with interest. The difficulties 
are necessarily very numerous, but the credit due 
to those who overcome them will be proportionate. 

Photographic Portraiture. — Since our last 
notice of photography, various experiments have 
been made, and quasi improvements effected. At 
the Polytechnic Institution, Mr. Beard has suc- 
ceeded in communicating colour to his portraits, 
but this is not sufficiratly positive to be an advan- 
tage ; it is, therefore, probable that the colourless 
light and shadow will not yet be superseded. From 
ample experience the features are now transferred 
to the plate with singular fidelity, and much 
greater certainty of effect than at first. There are 
to be seen at this establishment some beautiful 
specimens of brooch-sized portraits, and others 
even smaller as adapted for rings. In these the 
markings of the features, although sometimes 
rather hard in larger sizes, are extremely soft. 


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1842 .] 


THE ART-UNION. 


187 


Her Majesty has been graciously pleased to 
confer on Mr. Partridge the honour of the appoint- 
ment of portrait painter extraordinary. His Royal 
Highness Prince Albert has also conferred upon 
him the like honour. 

Statue of George IV. — A vote of £6300 
was passed in the House of Commons for the 
bronze statue of George IV., by Sir F. Chantrey. 
This was questioned by Mr. Hume, but the Chan- 
cellor of the Exchequer said that the order for the 
statue had been a mmute of Treasury in 1829, and 
the Government had adopted it as a public work. 

The National Gallery. — A cartoon, attri- 
buted to Raffaelle, has lately been transferred from 
the Foundling Hospital to the National Gallery : 
according to the legend on the frame, “ Deposited 
for the use of the Public/ ' by the Governors of 
that Institution. We had understood the work 
had been “presented/' but, be it as it may, we 
have mueh to be thankful for, as it is a production 
of extraordinary excellence. The subject of the 
composition is the ‘Massacre of the Innocents and 
when removed from the Foundling, was in such 
condition that it could with difficulty be held 
together : it has however been backed, and repaired 
in such a manner as could be done nowhere else 
but in England. On close inspection, it appears 
in places to have been in shreds ; but it has been 
so judiciously put together, and parts so carefully 
supplied, and toned in unison with the whole, that 
the extent of the damage is by no means per- 
ceptible. A-propo» of this picture — a word of our 
other cartoons. Now, this is glazed — we mean not 
in the painting sense of the word, but covered with 
a glass — a plan we some time ago proposed in the 
Art-Union for the security of the cartoons now 
at Hampton Court, in case of their removal to 
London, as a perfect security against injurious 
deposits from the atmosphere of the metropolis. 
There are persons who declare, that they are 
suffering comparatively rapid decomposition at 
Hampton Court; there are others, and with abund- 
ant reason, who protest that, if removed to London, 
they would be effaced in fifty years : if, therefore, 
the best judges are agreed that they are exposed 
more or less to injury, it were assuredly better so 
to secure them, that they might, without a scruple, 
be added to the national collection. If this car- 
toon be covered with glass to protect it, why 
cannot the others be similarly treated? To re- 
turn to the Foundling cartoon : we cannot recog- 
nise in it those characteristics of RafTaelle, which 
are familiar to all acquainted with his works. In 
construction it is a foreground of struggling 
figures — the spirit of its composition we meet 
with in the works of Michael Angelo and Rubens 
— works of theirs are similarly put together, but 
we know of nothing altogether like it in those of 
Raffaelle, although so dissimilar. It is presumed 
to have formed one of the Hampton Court series ; 
but its imperfections are such as Raffaelle, we can 
scarcely think, could have overlooked ; and if they 
be such as might have vitiated an earlier work of 
his, yet the handling and touch are not those of 
an earlier time. It is, however, a work of high 
character, and strikingly rich in tone. The co- 
lour is very substantially driven, and the whole, it 
would appear, has been glazed in a manner to give 
great transparency to the shadows. It was long 
known as the property of Prince Hoare, Esq. ; 
and notwithstanding its want of harmony with the 
other works of the series to which it is said to have 
belonged, it has always been considered a veritable 
Raffaelle. 

The Assassination in Mexico. — An ac- 
count of the barbarous murder of Mr. Egerton, late 
a member of the Society of British Artists, has 
gone the round of the daily papers. The main cir- 
cumstances of the case are therefore publicly 
known, although some of the details published are 
incorrect. Mr. Egerton had been separated from 
his wife daring a period of twenty years, having at 
the time of the separation made over to her, for 
her maintenance, the property (to whatever amount 
it might be) which he received with her on their 
marriage. Before his late residence in England he 
had previously lived in Mexico for six years ; he 
had not therefore left his family in the manner 
stated. The deceased was proprietor of land to the 
extent, it is said, of about fifty thousand acres on 
the Mexican frontier towards Texas, the purchase 
of which was a speculation whence he expected to 
realize large profits. We have been favoured with 
the perusal of a letter from his brother, whoresided 


with him, describing the fearfulappearanceof the two 
bodies when brought home on the morning after the 
double murder, which it is stated in this letter wasnot 
perpetrated within his own garden as hitherto sup- 
posed, but in some public but perhaps retired 
thoroughfare, where he was walking in company 
with the person who shared bis fate. The assassina- 
tions are supposed to have been participated in by 
several persons, and the murdered man is thought 
to have defended himself as well as he could with a 
walking-stick, and even to have struggled violently 
with the miscreants after he had been stabbed 
more than once. The body of the female lay at 
some distance from him, mangled and abused in 
a manner which only the most fiendish malice 
could dictate. By his friends generally Mr. Eger- 
ton was deemed a man of high probity, and those 
who had known him for many years entertained 
for him a high esteem, and felt towards him a 
warm friendship. At the time of his death he had 
quitted England about thirteen months, and was 
from 47 to 50 years of age. 

New French Periodical. — W e have received 
a new and interesting continental artistic periodical, 
entitled “ L' Amateur/' published in Paris, but too 
late to give a full review of it ; this we propose to 
do in a future number of the Art-Union, in the 
mean time we are happy to announce to our readers 
a new source by which we cau offer them a variety 
of information. We quote from this work a cata- 
logue of the engravings in the “ Bibliotcque du 
Roi." Number of prints, costumes, &c., arranged 
in order in the cabinet of engravings in the “ Biblio- 
teque Royal/' January 1st, 1840 ; — Pieces. 

A Galleries and Cabinets .. .. 36,194 

B Schools of Painting of the 

South of Italy, and Spain . . 19,507 

Divisions of this Class Pieces. 

Works of Leonardo da Vinci . . 187 

of Michael Angelo .. 494 

of Raffaelle d’U rhino 2778 

of Titian 773 

of Salvator Rosa .. 341 

C Schoolsof Paintingopthe North, 
German, Flemish, Dutch, Eng- 
lish 22,968 

Divisions of this class Pieces. 

Works of Albert Durer . . . . 1489 

of Lucas of Leyden . . 450 

of Rembrandt, originals 1038 
copies.. 767 

of Rubens 1900 

of Vandyke 1066 

D School of Painting of France 32,755 

Pieces. 

Works of Nicolas Poussin . . 907 

of Watteau 662 

E Engravers of different Countries 

182 306 

The collection of “ Nielli" 

amounts to 65 

Works of Baccio Baldini . . 68 

of the Master of 1466 90 

of Martin Schongauer 105 
of Israel Van Mecken 194 
of Mark Antonio . . 593 

of Augustino Venitiano 239 
of Bonasone . . . . 455 

of J. Smith .. .. 352 

of Stephen of Losne, 

Voeriot, &c .. .. 832 

of Thomas de Lose and 
Leonard Gautier . . 959 

of Callot, copies and 


originals . . . . 2498 

of Abra, Bosse .. 1752 

F Sculpture 9,685 

G Antiquities 35,315 

H Architecture 36,859 

I Sciences 15,658 

J Natural History .. 39,901 

K Academic Arts — Fencing, 

Dancing, Horsemanship .. .. 25,388 

L Various Trades .. .. 22,887 

Of this class on weaving 
different stuffs, there 

are 4040 

Jewellery & goldsmiths' 

works 2937 

M Encyclopaedias .. .. 8138 

N Portraits of Persons of 

all Countries 90,565 

In this class are Portraits 
of Henri IV 360 


of Louis XIV 531 

of Napoleon .. .. 433 

O Costumes of all Countries 
Costumes of France, Civil 
and Military .. .. 11,991 

P Preliminary Discourses .. 

Q Histories of all Peoples 

R Hierology 

S. Mythology 

T Fictions — Illustrations of Ro- 
mances, Poems, &c. .. .. 

Division of Caricatures 
contains 7831 


U Travels 

V Topography 

Y Bibliography relating to En- 
gravings, 796vols 


36,973 


26,327 

24,118 

41,848 

22,741 

36,969 


11,527 

112,059 

7,013 

2,815 


Total . . . . 900,516 


Sales of the Month. Past and to Come. — 
Armour. — An extensive and varied assortment of ar- 
mour and arma was, on the 31st and J2nd ult., sold by 
Messrs. Oxenh&m and Son, at their rooms in Oxford- 
street, among which were several curious specimens of 
mail and chain armour, especially one attributed to the 
Sultan Bajazet, which, as much of it aa was composed 
of rings, was a fair example of the construction of a 
suit of maille or flattened rings. We cannot, however, 
believe it to have belonged to Bajazet, for in his day 
(the 15th centuiy) the people of the East made better 
armour than this, the rings of which were made of 
metal so soft as to yield to a slight pressure of the 
Anger; besides, in the be6t Oriental armour, the rings 
stand at but little short of a right angle with the jerkin 
to which they were attached, a method of construction 
introduced into this country from the East by the 
Crusaders. It is, however, a most curious and valu- 
able suit ; the breast-plate is formed of large lamina, 
extending across the person, engraved with what seem 
to be Persian or Arabic characters, and damasqnined 
in gold and silver. The head-pieces of this and other 
suits in the collection were fitted with the nasal which 
was in nse in England at the time of the Conquest. 
This suit has been added to the Tower collection, at the 
cost of j£ 138 12s. The principal purchases were made 
by the Board of Ordnance for the Tower collection, by 
the Maiquis of Westminster, Lord Charleville, and the 
Russian Government, through an agent. A few of the 
most important lots were— a cap-a-pie suit of tilting ar- 
mour, ^36 4s. 6d. ; a suit of cap-a-pie plate armour, time 
of Henry VIII., j£ 46 ; a suit of engraved armour, j£ 45 3s.; 
a cap-a-pie suit of German plated armour, time of Max- 
imilian, j£ 40 19s. ; a splendid suit of engraved Spanish 
armour, j£79 16s. ; an early suit of tilting armour, 
j £94 10s. ; an early cap-a-pie suit of Knight’s polished 
steel-ribbed armour, Mill 9s.; a beautiful suit of 
plated steel armour of the period of Maximilian, 
mounted on a horse fully armed, ^126. The purchases 
for the Tower collection exceed jfc600. 

FOREIGN sales. 

We believe our readers will be pleased to obtain re- 
ports of the more important sales of objects of Art that 
occur on the Continent, we give the recent one of 
Baron Rogers* collection, and shall endeavour to ob- 
tain continual “ returns” of all such matters. 

Drawings. — Michael Angelo Buonarotti— * Draw- 
ing in pen and ink of one of tne Prophets in the Sistine 
Chapel,’ 220fr. y not considered tree. RafTaelle Sanzio 
—‘Study for a fresco in the Vatican,’ 20 figures, bistre 
and white, * Dispute of the Holy Sacrament/ SOlOfr. 
Perm del Vaga— ‘ Resurrection of Lazarus/ 381 fr. 
Ginglio Romano — ‘ Defeat of the Amazons,’ lOOfr. 
Nicolas Poussin — ‘ First idea forthe Rape of the Sabines/ 
16 figures. Bistre, 911fr. Claude Gelee. called Lor- 
raine—* Landscape/ with pen in bistre, signed Clandio 
Geltfe, 603fr. * Landscape, with the Metamorphosis of 
Daphne,’ 495fr. * Landscape— Sunset,’ 400fr. Cor- 
nelius Netscher— * Portraitof Philip Wouverraans;’ lead- 
pencil on vellum, 400fr. Diepenbeck — * Portrait of a 
Prelate,* 76fr. Jean Batiste G reuse’— ‘ Drawing in 
China Ink — First idea of the * Village Contract of Mar- 
riage,’ 1050fr. Jean Jaquarde Boissieu— five * Studies 
of Heads/ lo9fr. Prudhon— * Allegorical composition/ 
200fr. Ditto, Ditto. Both these have been engraved by 
Roger. 

Engravinos.— By Marc Antonio Raimondi, * The 
Martyrdom of St. Laureuce,’ after Baccio Bandinelli, 
1090fr. * Saint Cecilia,* from a drawing by RafTaelle, 
somewhat different from the picture at Bologna, 701 fr. 

We may note that, though the engravings of Marco 
Centone are generally rather fallen in price, those 
after Raffaelle being the largest prices now given 
among amateurs, being greatly in favour. 

Paul Potter— 4 Bull and Cows;’ there is written on 
this engraving Paulus Potter fecit, 207fr. Adrian Van 
de Velaer— * Cows and Sheep/ 199fr. Henry Golt- 
zius— * Portrait of Henri IV. ’ 74fr. Wencelas Hol- 
lard— * View of the Cathedral of Antwerp/ 63fr. Robert 
Nanteuil— * Portrait of Bonponne de Believre, after 
Lebrun/ lOOfr. William Woollet— * Spanish Pointer/ 
130fr. 


itized i ^oogie 




188 


THE ART-UNION 


[AUGUST; 


CORRESPONDENCE. 

ENCOURAGEMENT OF ART. 

Sm, — I happen to hold a ticket in a lottery for 
a picture now at Venice, by Paul Veronese, to 
be so disposed of under the sanction of the Aus- 
trian Government. I have been thus led to turn 
in my mind the subject of a Picture Lottery, not 
like the man selling his glass in the Arabian tale, 
under a calculation of the proceeds, as if 1 were 
sure to be the 41 fortunate holder,* 4 but under an 
impression that a lottery scheme might be set up 
for the promotion of the Fine Arts; and that 
what is done imperfectly by tbe Society of the 
Art-Union, may be done more effectually by 
the Government. Objections have been urged 
over and over again to lotteries, but they all end 
in this one— that they lead to gambling and po- 
verty. That such have been the effects of lotteries 
it cannot be denied. The too visionary and the des- 
perate have found in them an excitement which has 
drawn them or driven them into neglect of the 
legitimate sources of gain, application and indus- 
try. And why was this? Simply because the 
object, the prize to be obtained, was money. 
There is not a gaming-house that proposes any 
other stake. But does this objection hold good 
in the case of the Fine Arts ? Certainly not. In 
a lottery of pictures not one human being would 
be tempted to ruin himself. It would altogether 
avoid that class of persons, so liable to ruin, from 
money lotteries. It would offer only a moderate 
and pleasing excitement ; and would at once en- 
gender where they do not exist, and improve 
where they do, intellectual desires and good taste ; 
and it could be almost exclusively among those 
who would very readily afford to lose the amount 
they risk. 

1 will not, however, enter into arguments to 
show the immoral effects of one kind of lottery, and 
the contrary effects of the other. It would be a 
waste of time. There is no antagonist to combat ; 
for no rational person will persuade himself that a 
picture lotterv could have any immoral tendency 
whatever. I will now say a little more upon 
the scheme proposed. We want, we say, Govern- 
ment favour and patronage for the Arts— well 
then, we will see if we cannot have it without Go- 
vernment having to pay for it. Let Government pur- 
chase annually, or every second or every third year, 
according as the plan shall in the first instance be 
found to answer, a very considerable number of 
pictures, and dispose of them by lottery to the 
public. Let them either purchase those on hand, 
or give orders for new pictures ; let them lay out 
to begin with £20,000 or £30,000. To the Go- 
vernment it matters little which sum, for they 
will be repaid; the economical public therefore 
will not have to complain of the amount. Nor 
would I have the Government to receive any pe- 
cuniary gain, but let one half such sum, as in 
ordinary cases of lotteries, goes to the Government 
iu shape of duty, or terms on which lottery is 
allowed, be set apart as premiums for pictures to be 
ainted, the prizes for artists to win. Whoitmay 
e inquired are to be the select purchasers, the 
caterers in this new lottery scheme ? The reply 
is ready. There should, in the first place, be a 
44 Minister of the Fine Arts” appointed by the 
Crown, with whom it should rest to appoint a 
committee, with power to make purchases. So 
that the machinery appears to be most simple. 
A minister of the Fine Arts ; a committee, of which 
such minister, or Prince Albert, should be the 
head ; Government to advance the money, to be 
repaid with all expenses. A per centage in lieu 
of duty would offer ample encouragement in shape 
of prizes; and the number of pictures sold dif- 
fuse a taste, improve it, and benefit both Arts and 
artists, The odium of selling by lottery would be 
entirely removed from the artist ; and tbe honour 
substituted by the purchase being a government 
purchase ; and a successful holder of.a ticket would 
the more value his prize, as it had previously 
obtained the approbation of a committee of 
taste. Its merit would have the distinguished 
mark of this high authority. The character of the 
committee would ensure success ; their endea- 
vours and the countenance of the Court would 
make it popular, and secure the favour of all 
ranks. The committee, by their proposing 
subjects for the premiums,* would have a high 
and legitimate direction of the artist's powers, 


and thereby give a higher tone to Art than it at 
present possesses. And by having the prize sub- 
jects engraved, that branch of Art would meet 
with a proper encouragement, and would be more 
beneficially employed than at present. Such ex- 
quisite work as our engravers are capable of pro- 
ducing would be not much longer thrown away in 
engraving pictures of little meaning and no senti- . 
ment. Nor should sculpture in this scheme be 
neglected, though it appears hitherto to have been 
lost sight of, there being nothing of the kind in, or 
attached to the National Gallery. Perhaps, ad- 
mitting this branch of Art, the sum to be ex- 
pended should be increased. 

I venture, Sir, to throw out these hints in the 
Art -Union, under the hope that tbe subject 
may be taken up by persons better qualified than 
myself, to urge the claims of Art, and able, if 
there should appear, upon consideration, anything 
good in the plan, to cairy it into execution. 

J. E. 

ANOTHER VEHICLE ! 

Mr. Editor,— Amused as I have felt in reading 
the very able articles contributed to the Art- 
Union, on Media, Vehicles, Grounds for Oil 
Painting, &c. &c. ; and sufficient as those articles 
may be considered by all the reflecting and practi- 
cal members of the profession, I still cannot re- 
frain from soliciting admission to your valuable 
columns for the following mode of proceeding, 
the result of many years study and experience in 
the practice of oil painting : — 

Having carefully attached to a frame admitting 
of extension (for motives hereafter assigned) a 
webb of Indian rubber cloth, apply to it a full 
couch of white lead, tempered to a proper 
consistency with spirits of caoutchouc. This 
wheu dry forms a most delightfully semi-ab- 
sorbent ground, which admits the application of 
colours ground in every possible variety of ma- 
terial, from tbe purest water to the grossest oils. 
To force upon the attention the desirability of 
such a ground, and its superiority to all others, 
would be to make a parade of the most palpable 
truism ; therefore, before commencing my di- 
rections I will merely say (after the manner of 
an old writer on the modus operandi of the 
famous Caracci), that having worked myself up, 

I set myself down , and commence by picking 
out my lights, that is, by sketching in my design ; 
which done, 1 proceed to painting in the boldest 
way imaginable, using nothing but the simplest 
colours, as prepared by tbe London colounnen, 
tempering them as required, with the spirits of 
caoutchouc, which should be used with the 
utmost freedom, and liberality as to quantity, 
there being no danger in its excess, as it is in 
its nature so excessively innocent ; so highly vola- 
tile, that what is not requisite to the durability 
of the work flies off ; and so exquisitely elastic, 
that you may literally defy a picture to crack, in 
which it is used to any extent. 

Having proceeded thus far, technically called 
dead colouring, should the general design or inter- 
mediate forms prove unsatisfactory, it will be 
merely requisite, with a large long-haired badger 
tool or sweetener, to apply to the surface of the 
painting a copious float of the same miraculous 
liquid, and in five minutes (by which time not 
only the dead-colour but the ground with it will 
be completely loosened), shake the work violently, 
give it a dozen or two slaps on the surface with the 
palm of the hand, and as many more with a coarse 
and rumpled kitchen towel, communicating to the 
blow a twisting motion, so as to disarrange portions 
of the picture surface, and it will assume all the 
variety in form, colour, light and shade, and tex- 
ture, that can possibly be wished. 

If it be desired to proceed immediately with the 
work it may be dried instantaneously, by applying 
to the back of the canvass a paste composed of the 
strongest French brandy and fine Durham mustard, 
five minutes after which the picture may be finished 
with as much ease and certainty as though (under 
the usual process) it had remained a month to 
harden the impasted and solid portions of the first 
colouring. Having thus far detailed the process, 
it may not be irrelevant to notice some few of the 
thousand advantages peculiar to a work got up by 
this mode. Cracking becomes impossible. A blow 
falls upon it innocently. The painting may be 
folded for transmission like a table-cloth, or 
rumpled up and thrust into the pocket like a hand- 


kerchief, without in either case retaining a single 
crease. A small painting may be stretched to the 
size of a large one, or a portrait originally painted 
the size of a kit-cat may (at the caprice of the artist 
or possessor) be pulled out at once to the dimen- 
tions of a whole-length, and may be fitted bv any 
common carpenter to any sized frame on hand, 
and out of use, and rendered appropriate to any 
residence, from the sitting parlour of the cottage 
orn£ at Hammersmith to the most noble picture 
gallery of the mansion in Grosvenor- square or 
Park-lane. But to return to the mode of working 
in this most extraordinary material, which is sus- 
ceptible of a thousand and one modifications in tbe 
hands of the judicious and speculative artist ; for 
instance, the drying process may be resorted to 
twenty times a day, allowing (in this age of tex- 
ture) tbe impasting and loading your surface with 
colour, until it shall be as rough as a ploughed 
field, which may then be cut down with scrapers, 
from the razor or three-cornered scraper, or scalpel, 
to the finest pumice-stone, until it assumes tbe 
smoothness or ivory ; glazings to any extent of 
richness may then be thrown into the work, until 
the most gorgeous depths be attained, from out of 
which, passing through the thousand intermedia 
of semi-transparent tones, the bright and luminous 
high lights may be relieved with the most perfect 
facility. 

Let us now suppose the picture dry, thoroughly 
dry, and the forms to want that purifying which 
can never occur without the most cautions and 
judicious retouchings. Instead of tbe usual mode 
of repainting, use again a float of the spirits, but 
let it remain tor two instead of five minutes, 
which will so effectually and equally soften tbe 
whole texture of the picture, that nothing more is 
required than the thumb or finger to push the 
forms gently and correctly into their final posi- 
tions. A fan, for instance, may be entirely re- 
modelled, the orb of an eye enlarged, the lid de- 
pressed or elevated, the mouth reduced to the 
dimensions of a button -hole, and a nose at once 
altered from the aquiline to the favourite nez 
retrouue , or any other character required, by 
merely, as was intimated, shifting the situation of 
the colour already on the canvass, instead, as is 
frequently the case (particularly in the practice of 
portraiture), of adding error to error, until the 
capacity of the canvass to receive more colour, and 
the ability of an artist to make new modifications 
for the whim of a patron become at once exhausted. 

Indeed this method is at once so easy and simple 
of execution, that after a portrait is sent home the 
possessor may sit down before a looking-glass and 
with the point of the finger produce the most 
extraordinary results himself, without the re- 
motest chance of injury to the work of the most 
finished portrait painter. 

Suppose now a perfectly novel case. The lights 
of a picture shall be considered too brilliant. 
Apply again a float of the spirits for the full pe- 
riod of five minutes, which effectually loosens the 
whole body of colour without displacing the mi- 
nutest particle : having done this, lay the painting 
on its back for a half an hour, by which time tbe 
lights (being all founded in white lead) will have 
considerably subsided, from their own specific 
gravity ; and should this not be sufficient, let the 
time be extended until you be perfectly satisfied, 
applying the drying paste to the back to secure it 
at the exact point desired. 

But to produce the opposite effect, and extend 
the brilliancy (a thing almost universally desirable 
in sunsets), lay the picture surface downwards, 
and if it be suffered to remain long enough, the 
brilliancy derived will be literally dazzling, and 
surpass anything of the sort painted after the old 
masters, who apparently knew little of vehicles, 
such as modern chemistry has developed, and 
consequently painted very queer and ordinary 
pictures. 

Now, Sir, I submit, if this vehicle of mine be 
not superior to all others, it is at least equal to any 
of those new ones that have found inventors and 
advocates in your columns, every one of which I 
have tried and found no better than this one of my 
own, for the discovery of which I claim exclusive 
merit. Your obedient servant, 

Nkw-Mbdium. 


a/tIo 






1842 .] 


THE OLD PAINTERS. 

Antwerp, June 1843. 

Sir, — Whatever practical effect may result to the 
mechanism of painting, from the interesting discussion 
lately published in the Art-Union, regarding the 
vehicles used by ancient painters, it may be the means 
of calling the attention of your readers to the merits of 
those early roasters, who have been hitherto greatly 
and unduly overlooked in England. It might be too 
much to maintain, with the roost distinguished German 
painters of our day, that the styles of the fourteenth 
and fifteenth centuries must now be revived, in order 
to embody the inspirations of genius ; yet those who 
have studied the subject, in even a superficial manner, 
will more readily pardon such enthusiasm, than bear 
with the contemptuous neglect under which most of our 
countrymen attempt to cloak their total ignorance of 
the matter. At the time when Louis of Bavaria has 
expended vast sums in securing for Munich the Bois- 
aer£e Collection, illustrative of the medical school of 
Cologne ; and when the Prussian Government have, by 
means of agents dispersed over Europe, in a few years 
acquired the choicest specimens, illustrative of the 
progress of painting in Italy, Germany, and Flanders ; 
England has lost the golden moroeut of securing what 
all must admit to be at leant curiosities of Art. I 
believe there is nut in the National Gallery a single 
picture executed before 1500; certainly not a solitary 
specimen of painting in fresco or distemper*, the two 
means by which that Art was raised to the perfection 
it reached in the early years of that century. This 
fact must astonish all cultivated foreigners who visit 
England; they would be amused, did they happen to 
know that one of the great authorities among our 
amateurs, and (as is supposed) an oracle among 
the trustees, condemned to the garret one of the most 
beautiful specimens now in existence of Bcato Angelico, 
which its weight in gold would not purchase at 
Florence. 

But, Sir, I took roy pen not to inform your readers 
of deficiencies which arc lamentably notorious, but to 
point out to those of them who come this way, an op- 
portunity of seeing some singularly interesting paint- 
ings of the fifteenth cenutury, illustrative of Van 
Eyck’s supposed inventions. The Burgomaster d’Ert- 
born, of Antwerp, lately bequeathed to his native town 
a small, but very select cabinet of such specimens, dis- 
tinguished by their beauty and extraordinary preserv- 
ation, qualities of equal rarity, and seldom conjoined. 
As yet no catalogue has been printed of these, and 
many have no names attached. But nowhere cun the 
mechanism of Van Eyck’s pictures be so well examined, 
and the comparison of his colours with those of the dis- 
temper painters of Italy be so fairly made. I have no 
intention of supplying the wunt to w hich 1 have just 
referred, by here offering you a catalogue ; but I shall 
briefly refer to a few of the pieces that relate more 
especially to these points. 

On a panel, about twelve by seven inches, we have 
Van Eyck’s preparation, of a pearly white appearance, 
which is debarred from close inspection by plate-glass, 
perhaps the only instance in which that deforming in- 
cumbrance is justifiable. On this ground he has traced 
his whole composition and details with a dark brown 
ink, slightly filling in the shades with the same. The 
sky is lightly washed with a pearly blue overhead, 
toned away on tbe horizon to a brownish grey. St. 
Agnes is seated on tbe ground, amid the numerous 
small folds of her ample robe, facing the spectator. 
Behind her an unfinished tower, rich in Gothic orna- 
ments, perhaps that of Antwerp or Cologne, on w hich 
a multitude of figures are busied in building and car- 
rying materials. The wide landscape is touched with 
the delicacy of miniature, and the picture is ready for 
tbe application of the colours ; without which, however, 
it is already a complete and effective illustration of the 
subject. Although evidently an unfinished work, the 
frame is inscribed Johi $ de Eyck me fecit, 1435. 

After examining Van Eyck’s picture thus prepared, 
the student will next look for a finished specimen of 
that method which is supposed to have been his dis- 
covery. On another panel, about half the size of the 
last, we find this: Two angels on wing have let down 
a curtain, brocaded in rich and noble design, in front of 
which stands the Madonna with the Divine Child in her 
arms, deeply imbued with holy teeiing. On this com- 
position, as well as on the accessories, the sparkling 
fountain and richly enamelled flower-beds— the artist 
has lavished the whole magic of his colouring. Even 
the inscription forms a contrast with that just cited *, 
Jokes de Eyck me fecit ct complevit , Ano. 1439. 

Equal to the brothers Van Eyck, in spiritualized 
sentiment and brilliant execution, superior to them, 


THE ART-UNION. 


perhaps, in correct design, was Hans Hemmelinck, 
otherwise known as John M enameling. Nowhere can 
tbe cabinet pictures of these rival masters be better 
contrasted, for we have a dyptique by tbe latter, dated 
1499, which, though only 14 by 8 inches, ranks in 
grandeur and beauty with the highest works of the 
fifteenth century*. In the nave of a cathedral, rich in 
inlaid marbles, stained glass, and Gothic tracery, stand 
the * Madonna and Child,’ a stately group *, on the other 
wing the donor of tbe picture, a bishop in Camaldolese 
habit, worships them at his prie-dieu in a snugly 
furnished bed-room. The backs of the shutters are 
also painted : on one Christ, a noble figure arrayed in 
white robes, holds in his left hand the mass-book, 
while with his right he sheds his benediction over the 
glube beneath his foot, on which are inscribed Atia, 
Europe, Africa ; on the other shutter he is worshipped 
by another bishop of the Camaldolese order, pourtrayed 
to the life. 

Passing over other not less interesting specimens of 
the early Flemish, Dutch, and German achools, by 
Mabuse, Quentin Matsys, Lucas van Leyden, Holbein, 
Albert Durer, Sic., and confining my observations, for 
the present, to illustrations of Van Eyck’s method, I 
must give a few words to a very rare master. Anto- 
nello di Messina, having found his way into Flanders, 
saw, admired, and acquired that improvement on the 
vehicles hitherto in use; and was the first to introduce 
into Italy an art which was destined there speedily to 
attain perfection. By Antonello we have here a por- 
trait, in all respects resembling similar works of Van 
Eyck, though the rich brown of the flesh tints seem to 
indicate a subject chosen from a gunny clime. But 
more rare and curious is his treatment of the ‘ Cruci- 
fixion,’ on a panel about 22 by 18 inches. In the fore- 
ground of a wide prospect embracing sea and land, 
rises a hill strewed with bones and sculls, which mark 
it as Golgotha ; on it stand the three crucifixions, be- 
neath the centre one of which St. John worships, while 
the Madonna mourns apart. The poetic grandeur im- 
parted to the closing scene of man’s salvation by thii 
simple treatment, and by the total absence of subsidiary 
action or figures from the lonely spot, has never, per- 
haps, been equalled in the thousand representations 
ot this subject. This precious work is inscribed, 
Antonetlu* Aleuamu me pinxit , 1417. 

Of n date nearly cotemporary must be a small picture 
by Beato Angelico, which may very well be contrasted 
with these works, as showing the difference between 
the distemper and the oil medium, if, indeed, the latter 
was known to Autonello so early as 1417. Giovanni di 
Fiesoie, best known in Italy by the holy appellation of 
Beato Angelico, is the most spiritualized of Christian 
painters, and the most successful in realizing by his 
pencil the pure conceptions of his passionless soul in 
forms of ideal beauty. This little picture gives a com- 
petent notion of his mechanical treatment; but the 
subject being but tbe fragment of a pradella illustrat- 
ing some saintly legend, does not realize the nobler 
powers of the artist. The brilliancy and fresshnessof 
the colours may, however, startle those whose book- 
knowledge has deceived them into the idea, that these 
qualities were deficient in easel painting until Van 
Eyck's invention. Such persons will be still more sur- 
prised on examining four little pictures here, which 
have once formed two triptiques, by Simone Memmi, of 
Sienna, the friend of Petrarch and rival of Giotto. 
They must be aliove a century older than tbe * Cruci- 
fixion,’ by Antonello di Messina; yet the whole range 
of medieval or later Art does not, perhaps, equal their 
light and lively tints and pure tones. I n these qualities, 
and in grandeur of conception, they excel the very fine 
specimen of Memmi in the Liverpool Institution. One 
diptique exhibits the common subject of the 'Annuncia- 
tion ;’ the other (which is signed by the master), the 
‘ Crucifixion* in two scenes— the moment of Christ’s 
expiation, and the deposition of his body from the 
cross. The masterly arrangement of the many figures, 
their movements and varyiug characters, display 
within a few inches the ability which has preserved to 
us at tbe Sta. Maria Novella in Florence, the persons 
and portraits of the painter’s most famed cotemporaries. 

But I dwell too long on a topic strange to most Eng- 
lish ears. I only repeat tbe wish that the Ertborn 
Collection may soon be properly arranged and cata- 
logued ; and that many of our countrymen may ex- 
amine it ere they form their impressions of tbe 
Flemish and Italian painters of tbe fourteenth and 
fifteenth centuries. 

Yours, &c., Delta. 


189 


DECORATION OF THE NEW HOUSES OP 
PARLIAMENT. 

TO THE EDITOR OK THE ART-UNION. 

Sir,— I n some remarks which I offered to you at a 
former period, on the notorious “ Glasgow natue Job,” 

I directed attention to the foreign decorative paintings 
at Montague house, which I am glad to find has not 
been altogether lost upon some of your correspondents. 

I am still inclined to assign a somewhat higher scale of 
merit to these paintings than is perhaps generally done; 
but in Ibis opinion I may very probably be mistaken. 
I, at all events, feel pretty certain that these works are 
vastly superior to any French paintings of the present 
day : and from their size alone, I am still disposed to 
think they would repay the examination of persons 
interested in the decoration of the Houses of Parlia- 
ment. The state of deterioration into which they have 
fallen is no doubt, in some measure, attributable to tbe 
faulty material upon which they have been painted— 
plaster ; but it is in part also caused merely by the 
smoke of tbe situation, and I do not doubt that the 
task of clearing, restoring, and even removing some of 
them would not at the present time be very difficult. 
The sulphureous quality of the London smoke acting 
upon the white lead, which is mixed with nearly all 
colours used in oil painting, is soon fatal to the effect ot 
a picture; but this deterioration is confined to the 
surface ; and can, for the most part, be removed by 
skilful mechanical abrasion. 

As for the study of the modern German paintings in 
fresco, at Munich and elsewhere, being desirable in 
forming a school of English decorative painting, I 
may shortly express myself very sceptical indeed; but 
there are other examples for study which may be 
sought with advantage. Amongst those noticed in 
your pages, I have not observed that of a ceiling in the 
palace of the Wood, at the Hague ; from which, (al- 
though I only speak from a recollection of thirty years 
back,) I think some usefhl hints in this style of art may 
begleaned. About thirty years ago, the late accomplish- 
ed and lamented Sir Robert Ker Porter painted a pano- 
rama of the battle of Agincourt, which as a mere 
battle-painting might challenge comparison with 
the first works of the cla-s, whilst in point of 
historical accuracy of costume and developcinent of 
national sentiment, it was everything that could be 
desiderated. It is, I believe, customary, on account of 
the value of the canvas, to efface works of this kind, 
and to use the canvas for future paintings. I think, 
however, 1 recollect having read that Sir Robert's fine 
pictnre escaped this fate ; and that within the last fen 
years it was found in a lumber room at Guildhall ; where 
so completely was it forgotten, that it was imagined 
to be a work of the middle ages. It is to be hoped that 
it was preserved, and that it may still be accessible, at 
a moment like the present when it can scarcely fail to 
be both useful and interesting to our native artists. I 
may here remark, that one great difficulty to be over- 
come by our artists in the decoration of the Houses of 
Parliament will be found to exist in the mere size of the 
subjects required ; and that an artist accustomed to 
panorama and scene painting, even although in other 
respects greatly inferior to his competitors, will be 
found able to execute a work upon the scale required, 
which will probably excel those of much superior artists 
accustomed only to the usual scale on which paintings 
are executed: this, however, is an affair of practice; 
and, if the proper means be taken and the necessary 
time allowed, the end in view can scarcely fail of being 
attained. I cannot enter upon the question of the com- 
parative merits of oil and fresco painting in the 
necessary detail, and with the authority to render my 
remarks of any value, farther than to state, that for 
every purpose of Art 1 give the preference to oil-paint- 
ing ; and here I may also remark, that 1 have seen no 
arguments adduced to show how suitable wooden 
panelling may not be employed with advantage for 
every description of oil-painting, whether os regards 
economy, duration, or artistical effect. 

In respect to the merits of British and foreign artists 
in fresco- painting, I maintaiu that— not with practice 
but at present ” without practice” in fresco,— 
British oil-painters will be found to be as superior to 
those of the continent, as they are in every other respect 
and qualification whatever. It was, therefore, with 
unmingled satisfaction 1 learned that British artists 
were alone to be employed in the decoration of the 
great national work now in progress. 

Yours, See., G. M. 


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190 


THE ART-UNION 


[August, 


LORD BYRON’S STATUE. 

Sir,— Y ou will, I trust, notice this appeal regard- 
ing the shameful seclusion of Byron’s statue in the dark 
vaults of our Custom-house : the statue is, I believe, ex- 
ecuted by Thorwaldses. We have no monument of 
Byron in any public situation, to the disgrace of Eng- 
land be it acknowledged ; and one by the first living 
sculptor lies mouldering under ground. Where is the 
feeling of the Monarch? of Prince Albert ? of Byron’s 
friends ? his brother poets, Moore and Rogers ? The 
companion of Childe Harold’s Pilgrimage, Hobliouse? 
Alas 1 Echo answers, “ Where ?” and from the Custom- 
house vaults Solitude comes murmuring the word— In- 
gratitude. Are not the great poet’s forebodings pro- 
phetically true, in his letters to Mr. Hoppner and Mr. 
Murray, when ht alludes to the two epitaphs at 
Ferrara, 

“ Martini Luigi 
Implora pace 
and 

"Lucrezia Picini 
Implora eterna quiete?” 

Tide bis letters, June 1819, dated Bologna *, where he 
observes, “ ’These two or three words comprise all that 
can be said upon the subject ; they contain doubt, 
hope, and humility. Nothing can be more pathetic than 
the * Implora.’ Pray, if I am shovelled into the Lido 
churchyard, let me have the 4 implora pace’ and no- 
thing else for my epitaph ! there is all the helplessness, 
and humble hope, and death like prayer, that can arise 
from the grave. 1 Implora pace.’ Whoever may survive 
me, and shall see me put in the foreigners’ burying- 
ground at the Lido, within the fortress by the Adriatic, 
will see these two words, and no more, put over me. I 
trust they won’t think of * pickling me, and bringing me 
home to Clod or Blunderbuss Hall.’ I am sure my 
bones would not rest in an English grave, or my clay 
mix with the earth of that country.” And then he adds, 
so appositely to his own fate—” As Shakspeare saya of 
Mowbray, the banished Duke of Norfolk (see Richard 
the Second), who died at Venice, that be, after fighting 
Against black Pagans, Turks, and Saracens, 

And toiled with works of war, retired himself 

To Italy, and there at Venice gave 

His body to that pleasant country ’* earth / 

And his pure soul unto his captain Christ, 

Under whose colours he had fought so long.” 

Has not this beautiful quotation some allusion to his 
•elf-devotion of life and fortune to Greece? which was 
afterwards followed by those beautiful stanzas, a few 
lines of which I quote from memory,— 

I tread reviving passions down 
Unworthy manhood and of thee. 

Indifferent should the smile or frown 
Of beauty be. 

Awake ! not Greece, she is awake. 

Awake, my Spirit ! think, through whom 
Thy life-blood tastes its parent lake 
And then strike home. 

The sword ! the banner 1 and the field 1 
Glory and Greece around thee see, 

The Spartan borne upon hi* shield 
Was not more free. 

And the patriot of the world, the martyr, the peet of 
the universe, has no place for his monument, out for 


church ennnot afford him a place by the side of Ben 
Jonson, Dryden, Chaucer, Cowley, Philips, Drayton, 
Butler, Spencer, Milton, Gray, Prior, Shakspeare, Sam 
Johnson, Thomson, Rowe, Gay Goldsmith, Addison, 
and Davy Garrick. Where is the difference between the 
anathema of Pope Innocent, when England w as under the 
ban of the See of Rome, and this exclusion of Byron’s 
statue by the Protestant hierarchy? 

Yours, &c., E. K. 

RAFFAELLE AND HIS FATHER * 

Before sitting down to this work, we had an im- 
pression thut the reputation of the man whose 
career forms its subject matter, had long ago 
worked itself out ; that the latest facts deriving in- 
terest from his name had been given to the world 
in 1833, when the question of his place of inter- 
ment was set at rest by the violation of his tomb 
in the Pantheon of Agrippa, at Rome ; but a Ger- 
man has here sifted for us the dust of upwards of 
three centuries, once more verifying effectually a 
proverb of his quaint compatriot Lessing—* 1 I)er 
fleissige Deutsche macht die Kollectanea, welche 
der witzige Franzose niitzet /' although it is not 
the Frenchman alone that profits by the German's 
patient research. The author of this work has 
taken for his subject, one that it would be difficult 
to invest with a new interest in the absence of new 
facts. These, we must say, he has succeeded in 
eliciting, and having moreover presented to us what 
was already generally known of Raffaelle in a form 

* Rafael Von Urbiuo,und Sein Vater Giovanni Santi. 
Von J. D. Paaaavaut. Leipzig. 1839. 


acceptably freshened by judicious arrangement, he 
has produced a book which, from the obviously 
diligent research by which it is everywhere distin- 
guished, cannot fail to have some weight in all 
that regards Raffaelle or his works. 

RafFaelle is acknowledged, universally, as the 
greatest genius of modern Art ; even the memora- 
ble period in which he lived offers to the biogra- 
pher, to the practical and inquiring artist, no re- 
putation of equal lustre. Y'et since Vasari's time, 
none of the many professed biographies of this 
44 principe dei pittori” have individually, by due 
study and efficient criticism, becomingly illustrated 
the master-spirit of that Art to the charm of which 
the human mind cannot help yielding in its most 
refined or least cultivated state. 

The earliest known biography of Raffaelle was 
written in Latin by Paolo Giovio, and first published 
by Girolamo Tiraboschi, in his 44 Stork della let- 
teratura Italians but this memoir is from its 
brevity unworthy of its subject, and yet more so 
from the errors into which the writer has been led 
from his insufficient knowledge of Art. Vasari's 
well-known work was published at Florence in 
1550 ; and a second edition, revised and improved 
by himself, appeared in 1568. The periods as- 
signed to Raffaelle’ s works are generally correct ; 
but the author has fallen into the common weak- 
ness of lavishing upon them a uniform and indis- 
criminate praise, which, were he not Vasari, would 
entitle ns to question his critical powers. But for 
this work, many of the main facts of the life of the 
great master would have been unknown to us ; it 
has, therefore, been made the basis of every biogra- 
phy that has been subsequently offered to the world ; 
and the mere enumeration of these histories would 
form a catalogue, since no writer on pictorial art has 
held himself acquitted without some coquetting 
with the reputation of this great man. Let us hear 
the author of the work before us, whose labours 
are thrown into strong relief by the compilatory 
system of life-writing ; he says : — 

“ This arduous work 1 undertook under singular 
circumstances. The late Professor Braun, of Maintz, ac- 
knowledging the imperfections of bis own little book on 
Rafael and his works, contemplated the publication of 
a revised edition, on the subject of which he consulted 
me, and became convinced that without personal 
examination of Rafael’s works, visiting the scenes of 
his labours, and deep study of the time in which he 
lived, no possible result could be expected. To my 
surprise the professor recommended me to write a life 
of Rafael ; to which undertaking 1 at that time found 
myself altogether unequal. Circumstances, however, 
favoured the project, and with such a view I undertook 
a journey to England, visited Paris for the third time, 
and travelled another year in Italy, in which blessed 
land I had already lived seven years. What Germany | 
contains has, of course, been long known to me ; but I 
had occasion again to visit Vienna. Rafael’s large 
works in Spain 1 bad before made myself acquainted 
with at Paris. 1 may therefore say, that, with the 
exception of a few pictures of little note, the whole of 
years the dark celTars”of the Custom-house. Our Rafael’s works are known to me from personal inspec- 
churrh ennnot afford him a Dlnce bv the side of Ben tion. I have visited the cradle and the scenes of his 

labours. My researches have extended to almost all 
the greater, and many of the smaller, libraries of Italy, 
Germany, England, and France, for the discovery of 
documents having reference to Rafael and his times. 
The archives in Home, the Medicean archives in Flo- 
rence, together with some other similar resources, have 
alone been closed against me.” 

M. Passavant accounts for the change of the 
usually received family name of Raffaelle,* by 
saying that he finds the name used by the relations 
of the great artist to have been Sante, and Santi, 
which, in Latin documents, became Sanctius, and 
this was Italianized into Sanzio, which has been re- 
ceived as his patronymic from an early period. 

The father of Raffaelle is spoken of at length, 
and his manner and works described ; but as the 
great master himself is the object of our interest, 
and he stands identified with the pictorial splen- 
dours of Rome, we pass at once to this period of 
his life. His fame is already gone before him, 
and he is summoned thither by Pope Julius II. 

” Rafael now entered the service of a prince whose 
energetic character, searching deeply into all worldly 
matters, not only acquired for himself the reputation of 
a great general and statesman, but also the gratitude of 
posterity from his extensive patronage of Art. All his 


projects of embellishment were so vast, that, although 
he was not permitted to live to see the execution of the 
greater part of them, yet, supported by the immense 
talent which he knew so well how to appreciate and 
select, lie left behind him in them the impress of a 
mind of no common mould. It was reserved for him 
to realize, in part, the great idea of Nicholas V., ac- 

* For ourselves, with respect to the baptismal name, 
we write it according to the latest Italian orthography. 


cording to which, the Vatican increased in extent to 
the semblance of a palatial town, with the view to the 
construction of suitable residences, not only for the 
Pope and his immediate attendants, bnt also for the 
highest spiritual denominations, allembassies, and dis- 
tinguished guests. He it was who couceived the pro- 
ject of renewing the decayed Basilica of the Apostle 
Peter, in such a manner as to merit the reputation of 
being the most celebrated temple in Christendom; and. 
as the part which be had been called upon to fulfil, bad 
in his hands been so imposing, he determined that 
in this monumeut, the erection of which he intrusted 
to the ablest of architects, his memory should be pre- 
served in the same spirit, since in grandeur and sub- 
limity it should surpass everything of its kind.” 

It was Raflaelle’s works in the room called 
curiously enough by our author 44 Zimmer della 
Segnatura,” that secured to him the continued 
patronage of Julius, who expressed himself satis- 
fied with his first plans, and proportionally more 
so after seeing his first work, 4 Theology/ com- 
pleted. His expectations were so far exceeded, 
that he immediately determined that Raffaelle 
should embellish all the rooms, and even gave in- 
structions for the effacing of all works that had 
been previously executed. But Raffaelle, in con- 
sideration of the beautiful arrangement and the 
rich embellishments of the roof of this apartment, 
thought fit to employ for new subjects only the 
eight larger fields, allowing much of the previously 
executed work, together with the Pope's arms, to 
remain. 

It was in 1508 that Raffaelle was summoned to 
Rome, and there only it is that his powers can be 
apprehended in their full extent. As it is not to 
any limited study that they declare themselves, so 
no length of application can reduce them to any 
common standard. Our own Reynolds even con- 
fessed on his first view of these works that he was 
disappointed— in short, that he did not understand 
them ; but in maturer years he admitted himself 
subject to their fullest influence, and then none 
were more sincere than he in praise of the great 
master. 

Raffaelle was twenty-five years of are when he 
began his labours in Rome, which, when he had 
prosecuted for five years, his patron Pope Julius 
died. Within this period, besides the stupendous 
4 Theology/ he executed his works 4 The Fall of 
Sin/ 4 Marsyas Condemned/ 4 Poetry/ 4 Par- 
nassus/ 4 Alexander and Augustus/ 4 Th$ 
School of Athens/ &c. &c. ; and of some of these 
it may be said, especially of the 4 Theology/ that 
they were very unequally painted ; hence it may be 
inferred that the whole of the work was not finished 
by Raffaelle himself, but that he was extensively 
assisted by pupils. At this period Michael Angelo 
flourished, and of the influence exerted by his 
genius upon the works of Raffaelle, M. Passavant 
thus speaks : — 

“ That Michel Angelo, as the elder of the two mu- 
ten, and who, contemporarily with Rafael, executed 
at Rome and Florence his finest works, should, through 
them, have exerted a certain influence upon the latter, 
is sufficiently reasonable; and this is alluded to by 
Vasari, although with too much deference to Michad 
Angelo. Nevertheless, the individuality of the artist 
of Urbino, in which is mirrored the entire region of 
essences and forms, stands clearly distinct from that 
of the Florentine, who is alone in his own especial 
greatness : hence it follows that if Rafael have adopted 
from Micnel Angelo, this could be but one of the 
many preferences with which be enriched his mind ; 
since the acquisition is markedly dominated by hit 
individuality. For his veritable reputation be is by no 
means indebted to his imitation of Michel Angelo, as, 
for instance, his 4 Prophet Isaiah,’ in the church of 
St. Augustine, in which the style of his rival is most 
striking, has ceased to be considered one of his more 
‘successful productions. This influence upon Rafael was 
first apparent after he had seen the first completed 
portion of the ceiling of the Sixtinc chapel, which 
coincides with his last labours in the Segnatura :* fbr 
although he had then already seen in Florence Michel 
Angelo's Cartoon, it is to be observed that his produc- 
tions of that period have not the slightest sympathy of 
manner with that work, which, perhaps, is attnbutable 
to the circumstance of Bonarroti’s regarding with a feel- 
ing of contempt, not only his(Raff'aelle’s) friend Francis, 
but also his master Perugino, which would lead him 
to consider the great Florentine sculptor with aversion. 
But in Rome, which stimulated the genius of even 
Rafael, he no longer withheld the homage doe to the 
efforts of bis rival. When, therefore, either, as Vasari 
states, on the occasion of his being by Bramante, pri- 

* The Diario of Paris de Grassis shows that on 
Christmas-day, 1512, the Sixtine chapel was not yet 
cleared of Michael Angelo’s scaffolding; — the following 
passage occurs In Vigilia N. C. : Pontifcx voluit ves- 
peris interesse in Cappella Sixtina. . . . Scd quia non 
erat ubi possemus ponere thalamum et solium ej u *» 
dixit, ut illud facerem ego modo meo. 


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1848 .] 


THE ART-UNION 


191 


vately, and before all other persons, admitted to the 
W rt iM chapel, or on that of the admission of the pub- 
lic, he had an opportunity of inspecting these works of 
Michel Angelo, they made an impression upon him so 
powerful as to afford him a further insight into the 
exalting tendencies of his art. In support of these 
assumptions, besides other evidences, there exist several 
drawings after the composition of those frescoes which 
Rafael himself sketched. One of them, the ‘ Setting up 
of the Brazen Serpent in the Wilderness,* is in the pos- 
session of the Earl of Leicester ; another, ‘ Adam and 
Ere expelled Paradise,* was iu the collection of the late 
fir Thomas Lawrence.’* 

** This influence of Michel Angelo on Rafael, is 
'particularly striking in the statue of Apollo in the 
School of Athena, from its approach to the style of 
the former, although at that time several statues 
Of this god had been discovered. But Rafael, from a 
regard for harmony, felt himself obliged to make the 
gWtue accord in manner with the other figures, and 
oeems here to have acted entirely under the influence 
*«Tthe great sculptor; for this figure, in its action and 
keeping, presents at once to the memory the statue of 
a slave very similarly designed, which was intended as 
apart of tne sepulchral monument of Julius II. ; but 
it was left iu an unfinished state by Michel Angelo, and 
is, if I err not, in the museum at Paris. A drawing 
of this, as also of the design of the monument, has 
been published by Ciampi, of Florence. 

** With respect to the arrangement of colour, quality 
of tint, and indeed the entire effect observed in the 
School of Athens, Rafael showed himself a master 
who had already successfully combated all difficulties, 
and nearly attained his ultimate excellence. This 
work has certainly suffered serious injury; but enough 
•fits original state remains to bespeak its source, still 
preserving the peculiar beauties of the execution. The 
flesh colours of some portions of the work yet remain 
in all their pristine richness ; particularly those of the 
figures on tne left in the upper part of the picture.” 

Raffaelle's father, Giovanni, in addition to his 
accomplishments as a painter, was also a poet, and 
as such was considered by his friends of Urbino 
as of respectable pretensions. The deeper inspira- 
tions of the son in his art prompted him to give ex- 
pression to all his poetry in the manner best suited 
to his genius. The amount of Raffaelle’s rhymes 
is summed up in a few sonnets; some of these 
allude to an attachment which he formed soon after 
his arrival at Rome, and which lasted till the end 
of his life. While busied in the execution of some 
of his greatest works, the by -play of his imagina- 
tion was versification. Some of his rhymes are 
unhappily married ; and as a proof that rhyming 
was a difficulty with him, evidences exist of his 
changing and trying the verses in different ways. 
His poetry is brought curiously under our notice 
from the circumstance of his having made 
memoranda for verses on his drawings, which are 
still preserved in this state. 

The following sonnet was written on a sheet 
which contained also drawings for his fresco 
theology : — 

Amor tu men vescati con doi lumi 
Dei occhi dov’io mestrugo e face 
Da bianca neve e da rose vivace 
Da un bel parlar ed’onesti costumi. 

Tal che tanto ardo che ne mar ne tiume, 

Spegner potriam quel focho, ma piace 
Poi ch’el mio aidor tanto dibon mi face _ 
C’ardendo ognor piu d’arder mi consumi. 

Quanto fu dolce al giogo e In catena 

J)e suoi candidi braci al col mio volti 
Che sciogliendomi io sento inutalpena. 

D'altre cose 10 non dicho che son inolti 
Che soperchia docezza a morte mena 
K pero taccio a te ipsensir rivolti. 

In Julius II. RafFaelle served a master of incredi- 
ble energy, which was principally directed to the 
acquisition of a great name. In this he availed 
himself, successfully, of the talents of others, sur- 
rounding himself by the greatest geniuses of his 
time, who, in return for his judiciously applied 
flatteries, gave him the reputation he so much 
coveted. By constancy and perseverance, en- 
couragement, participation, and even severity and 
impatience, he urged the greatest artists to surpass 
as it were themselves, by calling forth in them 
dormant and unknown capabilities. W T hen this 
pope died, Raffaelie had not yet finished the em- 
bellishment of two rooms: he was, when that event 
took place, employed in the apartment which con- 
tains Attila, the Mass of Bolsena, Ac., &c. Gio- 
vanni de Medici, who succeeded Julius in the 
papal dignity, under the title of Leo X., was of an 
opposite character. Raffaelie found in him a 
patron of refined and elevated tastes, and a master 
of benevolent consideration for those around him. 
Extensive patronage of genius was in him no affec- 
tation, for it had been a distinguishing heritage of 
his family for centuries. His liberality to dis- 
tinguished men, philosophers, poets, and artists, 


whom he drew from all parts of Italy to his Court, 
has procured him in the world of letters, not only 
of his own, but of succeding times, a celebrity which 
throws into shadow the name of his predecessor, 
although a man exceeding him in strength of 
character and boldness of design. 

We find the great painter at this period in friend- 
ship with meu of the highest distinction, hereditary 
ana acquired. The Pope himself showed for him 
the greatest cordiality and respect ; and among his 
intimates may be mentioned Count Baldassare 
Castiglione, the ambassador of Francesco Maria, 
Duke of Urbino, who, on the occasion of the 
election of the new pope, expressed himself happy 
of again having an opportunity of embracing his 
ever dear Raffaelie. He was claimed as a friend 
by all the learning and talent attracted by the 
Court of the eternal city ; and his society was 
sought by the men of those times, whose leisure 
was frequently employed in complimenting each 
other in Latin and Petrarcan verses. With Pietro 
Bern bo, Erasmus of Rotterdam, and Ariosto, he 
was upon terms of intimacy ; also with Sanazzaro 
and Zebaldeo, both in their time high in estimation 
as poets. 

Albert Durerwas the contemporary and friend of 
Raffaelie, and he expressed his admiration of him 
by offering for his acceptance a variety of presents. 
Among these was a portrait of himself, painted in 
water-colours upon linen, and so transparent as to 
be visible on both sides. This portrait was highly 
esteemed by Raffaelie on account of its execution. 

It was bequeathed afterwards to Giulio Romano, 
who prized it equally with his master. In return 
for these, Durer received a drawing of two figures 
upon which he wrote : — u 1515. Rafael of Urbino, 
so much esteemed by the Pope, made this drawing 
and sent it to Nurnberg to Albert Durer to show 
him his hand ( i . e. manner.)'* 

Of the Fornarina, so much associated with Raf- 
faelle's name, M. Passavant proceeds, after having 
spoken of her portrait, to say : — 

“ I should now be glad to be enabled to afford 
some more particular information about her whose 
name Raffaelie has sent down with his own to 
posterity. She was known by the name of For- 
narina, and if we may credit Misserini she was the 
daughter of a soda burner, who lived on the other side 
of the Tiber, in the quarter St. Cecilia. No. 20, in the 
Strada, S. Dorothea, is still pointed out as her birth- 
place ; it is a house of strikingly antique appearance 
with ornamental work of terra-cotta. A small garden 
was formerly attached to it, the low wall of which 
admitted of itsbeiug surveyed from without, and here 
it was that the celebrated beauty spent much of her 
time. The Fornarina became celebrated among the 
Roman youth of the period ; and especially so among 
the students of Art, ever the most passionate admirers 
of beauty, who, in (Hissing the house, frequently stood 
on tiptoe looking over the wall to catch a glimpse of 
the lovely maiden. Her fame attracted among others- 
Raffaelie, than whom none more admired female beauty, 
and having seen her as she was bathing her feet at a 
fonntsin in the garden, was smitten with a love so 
powerful that he could not rest until he could call her 
his own.” 

This is a story that artists love to dwell upon, 
but its truth is disputed. This is the version ac- 
cording to Misscrini ; others insist that to what- 
ever person it might have been given, the name 
Fornarina was never known to Raffaelie. The 
work at Florence which bears this name is too well 
known to require description here ; it is now in the 
Tribune, but has not been there many years. 

Raffaelie continued his labours with unremitting 
industry, and had he lived to a moderately old age 
his works would have been no less astonishing in 
their number than in their excellence. Even at 
the early age at which he died the number and mag- 
nitude of his works have been ever since his time a 
theme of wonder. In considering this the great 
master cannot be measured by any ordinary com- 
parisons ; it must not, however, be forgotten that 
he availed himself to a great extent of the assistance 
of his pupils. The most remarkable of these were 
Benvenuto Garafiilo, Gaudenzio Ferrari, Timoteo 
Viti, Giulio Romano, Francesco Penni, Udine 
Caravaggio, Bagnacavallo, and others less known, 
besides a great proportion who left nothing behind 
them, either good or bad, to rescue their names 
from oblivion. Such is the influence of the suc- 
cess of a man in a profession for which nature has 
fitted him, that the self-love of others, ambitious 
of a similar reputation, urges them to the same 
career, which in every instance of this kind must 
end in disappointment ; for in pursuits wherein 
something more than mere mechanical habit is 


necessary to distinction, those who have shone in 
them have always been directed to them by innate 
genins. 

Raffaelie distinguished himself also as an ar- 
chitect, and is supposed even to have executed at 
Florence two marble statues. Among his latter 
great works were the Cartoons, which, as is known, 
were made with the view of having them executed 
in tapestry. He is said to have supplied the plan 
of a facade for the church of San Lorenzo at 
Florence, to which place he was summoned by the 
Pope, who passed the winter of 1515-16 in the 
ancestral capital. On Raffaelie 's return to Rome, 
he painted the bath-room of his friend Cardinal 
Bibrina, and occupied himself in embellishing the 
villa Rafaele, which is in the park of the villa 
Borghese ; and generally understood to have be- 
longed to himself, as the name would declare. 
About this period he executed * Alexander and 
Roxana,’ together with other works, among which 
were several versions of the ‘ Holy Family.' The 
celebrated ‘ Madonna della Sedia’ was also painted 
at this time; it is one of the perns of the Pitti 
Palace at Florence, where it is preserved with 
much core in a massive frame under a glass. 
Florence contains likewise the portrait of his great 
patron, which was painted towards the end of his 
life. The portraits of Leo X., Guilio dei Medici, 
and Sadorico dei Rossi, form a picture known as 
one of the greatest triumphs of Art ; and a critique 
to be worthy of it must involve even the principal 
passages of the painter’s life. There is in the 
Tuscan capital another picture of this period, we 
mean * John the Baptist,' which among the works 
of the Tribune is one of the first that catches the 
eye on entering. This picture was painted for 
Cardinal Colonna, from a singularly fine study 
from the life, made expressly for it, but with all its 
points of excellence, it is inferior to the other ; it 
may therefore be supposed that much of the pic- 
ture most have been done by pupils. 

The whole of the secona volume of the work 
under onr notice, containing pp. 700, is devoted to 
an enumeration of the works of this renowned 
artist ; and whatever we may have been prepared 
to expect, the tangible evidence of a catalogue in- 
creases, if possible, our astonishment at the teem- 
ing prolificness of imagination with which this man 
was gifted. He has been accused of negligent 
finish in some of his works ; but, after all, such a 
chronicle os this is his best apology ; for jostled by 
the images of his crowded brain, he entrusted that 
mechanical execution, and even finish, to his pupils, 
of which he himself was impatient. 

The grand project of Raffaelle’s latter years was 
the architectural restoration of Rome ; his remark- 
able letter on the subject to the Pope is contained 
in the work before us. He had been commissioned 
by his patron to consider the practicability of the 
plan, and entered eagerly on his studies and re- 
searches, in which he was aided by the most able 
antiquaries. His knowledge of architecture was 
of course extensive, and his own antiquarian expe- 
rience great ; but he was cut off in the midst of 
labours preparatory to this vast undertaking, in 
which his inward resolve was, doubtless, to divide 
the palm with his great contemporary, in the archi- 
tectural embellishment of Rome. 

The last work generally understood to have been 
finished by Raffaelie was the ‘ Turns figuration,' 
and scarcely had he completed this work before the 
world closed upon him, in the strength of his 
years and the fulness of his renown. Our author 
thus speaks of his death : — 

“ In the mean time, in Rome the consternation be- 
came general, on account of the dangerous turn which 
Raffaelle’s indisposition had taken ; for not only did 
his papils and nearest friends deeply feel what a loss 
threatened them, but the entire population lamented the 
probable disappointment of the hopes which the revered 
master had held out to them of the future magnificence 
of their city. The Pope was most painfully con- 
cerned; for his love of Art found in the creative and 
inexhaustible imagination of Raffaelie ever new matter 
for its gratification. He sent to him frequently during 
his illness, which was of fourteen days duration, in- 
quiring each time circumstantially about his progress; 
and how was he alarmed on hearing of his death, hav- 
ing just previously been informed, that the part of the 
Vatican, inhabited then by himself, and which had 
been built by Raffaelie, was giving wav. Raffaelie died 
at the age of 17 , on the anniversary or his birth, on the 
Good Friday of the year 1520.” 

The length of our extracts compels ns to close 
our notice of this work, to which, however, we 
may recur in a future number. 


Digitized by VjiUUy Lv. 


192 


THE ART- UNION, 


[August, 


reviews. 


The Seasons. By James Thomson. Pub- 
lished by Longman, Brown, Green, and 

Longmans. 

This edition of 44 Thomson's Seasons" has been 
embellished by a “selected set" of the most 
distinguished artists of our time, whose taste and 
learning in their profession have fitted them to 
accompany the varied strain of these poems. 
Speaking of this book in a business point of view, 
it is an enterprise which, carried out as it comes 
before us, must have required a serious outlay of 
capital, considering that every book-shelf was 
already provided with a copy, in some shape, of 
** The Seasons ;" and this we remark, merely to 
instance the spirit which animates publishers in the 
reproduction in forms so costly of works already 
in the possession of the public. In turning over 
these gemmed pages, the uninquiring reader mav 
not know that some thousands of pounds must have 
been expended in bringing them forth — such, 
however, is substantially true: thus have our 
artists rendered their productions indispensable 
to refined enjoyment. 

This reprint, which is edited by Bolton Corney, 
Esq . , and contains a life of Thomson , and an account 
of his writings by Patrick Murdoch, D.D., F.R.S. 
The engravings are seventy-seven in number, exe- 
cuted from drawings by members of the Etching 
Club, to whom much praise is due for their ex- 
cellence, although they would have received justice 
more definite in impressions from the wooden 
blocks, than from the metal fac-similes; for it must 
be understood that the proprietors of the work, 
in order to secure by renewing the forms, a suc- 
cession of impressions of uniform quality, have 
submitted the original blocks to the electrotype 
process, and worked off the cuts from metal sub- 
stitutes, which, albeit the best we have ever seen 
resulting from this operation, are yet sullied in some 
cases by slight imperfections irremediable save by 
the wood itself. With respect to the gentlemen 
who have contributed the drawings, as we cannot 
afford space for even the titles of more than a few of 
their productions, we can, at least, give all their 
names; and these are — John Bell; C. W. Cope; 
Thomas Creswick ; C. J. Horsley ; J. P. Knight, 
A.R.A. ; R. Redgrave, A.R.A. ; Frank Stone ; 
C. Stonhouse; Frederick Tayler; H. J. Town- 
send ; and Thomas Webster, A.R.A. The en- 
gravers in their department are not less known, 
they are— Branston, Jackson, Green, O. Smith, 
Vizctelly, A. Thompson, J. Thompson, Bastin, 
T. Williams, J. Williams, and Landells. 

The imaginative themes and excursive style of 
** The Seasons," throw an artist upon his own re- 
sources in embodying compositions for their illus- 
tration : in the few cases affordiug localities 
eligible as subjects, these realities have been 
wrought out with exceeding truth, and the finest 
feeling for the picturesque. The blocks are gene- 
rally large enough to cover the page, but blank 
spaces are formed for the insertion of the type ; 
the text, therefore, be it more or less, is elegantly 
encompassed by the design. At the commence- 
ment of the book is a beautiful vignette by A. 
Tayler, taken from a single line,— a spot “ where 
the deer rustle through the twining brake." 
The execution throughout is admirable ; the 
metal form seems to have been touched upon 
with the best effects after the mould was ob- 
tained from the original cut. Another effec- 
tive vignette, * The Bowery Walk,' by Cres- 
wick, is a cool and tempting vista, shaded 
by a thousand pendent boughs. It seems to be a 
snatch from Haddon, or some other ancient 
baronial seat, for every drawing of this artist has 
about it that reality which pronounces it a picture 
of an actual existence. 1 Angelic Harps,' the 
twenty-ninth subject, by Redgrave, is powerfully 
conceived, and pictures the image-thronged imagi- 
nation of the poet. Mr. Bell, in the 4 Nile and 
Nilometer,' has most ingeniously typified the 
Nile and the phenomenon of its annual rising; 
and, in a following plate, the dire plagues of the 
land of Egypt. The episode of * Celadon and 
Amelia' is beautifully illustrated, in two connected 
vignettes by Cope; they are clear in execution 
and touching in sentiment. Creswick's 4 Rich- 
mond Hill' is one of the most effective morceaux 
we have ever seen. The story of * Palemon and 
Lavinia' is pictured by F. Stone ; and the 4 Mazy 
Dance, as alluded to but in one line of 1 Au- 


tumn,' by J. C. Horsley, in which there is some- 
thing really very Watteau-like. 4 Skating,' by 
Stonehouse, is a truthful representation of a 
winter day. Townsend supplies three or four of 
great excellence ; the happiest — and it is indeed a 
sweet and graceful composition — is the illustration 
of the passage, “ Each by the lass he loves." 

We have of course passed over very many of 
these engravings, which may take rank with the 
very best specimens of the art. These are the first 
ot the conjoint emanations of the Etching Club 
that we have seen; and if they are to be considered 
a commencement of similarly continued labours, 
it may be assumed that they will raise to them- 
selves the fame of a club-school, whose works will 
be held of rare price : they have assuredly here 
entered into the spirit of him who was so often 
44 admitted into the grove of Euripides." 


The best Pictures of the Great Masters. 

Part IV. Colnaghi and Pucklk; tod Ack er- 
man n and Co. 

The fourth part of this really valuable serial sus- 
tains the reputation acquired by those which have 
preceded it* The engravings of which it consists 
are from 4 The Blind Fiddler,' by Wilkie ; 4 Land- 
scape, with Goats,' by Claude; and Raffaelle's 
4 Sacrifice at Lystra :*' and in looking over the 
prospectus which accompanies these, it holds forth 
promise that those which shall succeed will be of 
equal excellence. Deep as we are in the cause of 
modern Art, we cannot ( immemoren veterum 
qtii—- ) pass without a sign the labours of bygone 
sterling worth, to whose practical precepts many 
of our cotemporaries are more indebted than they 
choose to acknowledge. 

4 The Blind Fiddler,' engraved by E. Smith, 
is in feeling and effect an admirable transcript of 
the celebrated picture, and every item of the 
composition is made out in a manner appropriate 
to the high finish of the original. The characters 
of the figures are most faithfully preserved ; the 
movement of the strolling musician is in time per- 
fectly equable with that of his prototype in the 
National Gallery — we are within earshot of the 
snapping fingers of him at the fire-place, tripping 
like another dancing faun in his earnest endeavour 
to amuse the child — in short, the plate is in every 
way worthy of the picture. Claude’s * Landscape* is 
beautifully engraved by Forrest. The composition 
is characteristic of the master, consisting of groups 
of lofty trees telling against a clear sky, a distance 
flooded with the lights of the sun, and a foreground 
in transparent shadow derives life from figures in 
the foreground. A woman, mounted on an ass, and 
accompanied by a man, ore moving along the road, 
and behind these are a flock of goats driven by the 
herd, attended by his dog. The engraver has been 
eminently successful in imparting to each object 
its particular texture. The foliage is light, and 
hangs naturally, and is yet withal carefully 
rounded and massed. A good engraving from a 
work of this master we can fully appreciate; and 
sympathize with the engraver, of whom is required 
a plate from a picture, which may have in parts 
been softened by time into indistinctness. 

The 4 Sacrifice at Lystra* is engraved in a man- 
ner to convey ail the spirit and effect of the Car- 
toon. Every figure and object are clearly defined, 
and the expressions of the various heads trans- 
ferred in their full force. 

This series of engravings must be a valuable 
addition to every collection. The subjects are 
selected with judgment and taste, and executed 
with a perfect apprehension of their beauties in a 
manner to raise the respective artists to a high 
consideration in their profession. 

The work, although it contains the names only 
of. London agents, is the publication of an enter- 
prising publisher in Edinburgh. 

Atkinson's Sketches in Affganistan. 

Publishers, H. Graves and Co. 

Few modern works are calculated to be so ex- 
tensively interesting as this— describing a country 
with the peculiarities of which recent events have 
unhappily rendered us far too familiar. These 
44 mountains inaccessible ,' 1 have echoed the dying 
groans of British soldiers — what is far worse, have 
witnessed their tarnished reputation — and many a 
brave fellow’s grave has been made under the 
shadows of these rocks, that look down upon lonely 
glens. Yet those who examine this work will 
little wonder at the repulse our arms have met 


with, and hesitate to pronounce our defeat dis- 
honour. It is really frightful to contemplate these 
44 Passes,” even in a picture, and to know what 
fearful sufferings must have been endured by our 
fellow countrymen before they were surmounted. 
The series of views come in good time, for they 
come to remove much of the grief that England 
has endured in consequence of a calamity to which 
England is unaccustomed ; for they show us that 
neither the men nor the mountains of Affganistan 
are to be despised ; and that a warfare with both 
must not be a 44 little warfare." 

The artist (by whom these sketches were made 
44 upon the spot"), James Atkinson, Esq., was, 
we believe, a surgeon in the British army, 
who enjoyed peculiar advantages for examining 
the country and noting its peculiarities. His 
drawings, however, passed through other hands 
before they were submitted to the public; 
having been placed 44 on the stone'* by Louis 
Haghe, the most accomplished and experienced 
of our lithographic draughtsmen. The collection 
is very varied ; exhibiting not only the natural 
scenery of the land, but its people, in so many 
ways, as to be a valuable contribution to their 
history. In the opening print, we have a group 
of 44 Belooches," m the Bolan Pass, pouring on 
our troops a murderous fire from a rocky fastness, 
unapproachable. Next, is a peaceful and pleasant 
scene, on “ the river Sutledge," exhibiting quays 
and boats; next, a town and a fortress, with 
camels in repose ; next, an encampment, with 
the entrance to the famous Bolan Pass; next, 
a terrific mountain, up which the troops are 
about to ascend ; next, we have a nearer view of 
the entrance to the Bolan Pass ; next, a pass still 
more terrible, the Pass of Siri-Kajoor. The seven 
succeeding prints represent as many points of 
melancholy importance— ascents and descents in 
these appalling precipices; where battles were 
fought for every step, and under circumstances 
where skill and courage availed nothing. Then 
comes the city of Candahar, then the city of 
Ghuznee, then Caubul, then several objects of 
interest in or about the city, and then examples 
of the costume of the men and women of Caubul ; 
each of the prints being described by a brief 
but clear and comprehensive explanatory account. 

As a work of Art, this volume is of entire 
excellence, and under any circumstances would 
be a valuable acquisition; but its claims upon ' 
public attention are founded also upon the uni- I 
versal interest of the subject upon which it treats. 1 
There are few persons in Great Britain, whose j 
hearts do not turn with anxious yearning to this, 
the only country of the world that in modern | 
times has blotted our national annals ; few who 
have not some dear connexion to mourn for, or I 
to hope for, in connexion with the history of j 
this disastrous war, in which we embarked with- 
out honour, and out of which with honour we can- . 
not come. The glory of our urms may be regained 
indeed, but the page that records the discreditable 
contest, cannot be torn out of the book of the 
chronicles of England in the nineteenth century. 

Views of Haddon Hall. By Douglas 

Morison. Published by Graves and Co. 

The name of this artist is new to us : be has made 
his debdt with entire success. The work is some- 
thing on the planof “Nash's Mansions,** butdiffer- 
ing from it in being confined to illustrations of one 
Palace-bouse of England, and introducing land- 
scapes of the ornamental scenery thatadjoins it. The 
ancient and noble structure— the most beautiful I 
and interesting of all our earlier architectural gran- J 
deurs — is represented in every aspect, and with I 
all its advantageous accessaries — its picturesque 
interiors and exteriors, and the several striking 
points about “ the grounds.” The drawings are 
capital examples— good studies for the learner, 
and highly satisfactory to the advanced student. 
The artist has very judiciously introduced figures 
into most of his subjects ; and these figures are 
in good keeping with the character of the place, 
for they are habited in dresses of the olden time, 
the customs of which they occasionally illustrate. 
The work is of great value and of much import- 
ance ; and will, we trust, be so received by the 
public as to lead to the production of similar 
volumes, extending the knowledge of similar 
places— places sacred to the memory of great 
men gone from us, and forming essential parts of 
our national history. J 


Digitized by Ar.OOQle 


1842 .] 


THE AUT-tJNION. 


l*at Palfrey, a LoVfc Story or Old Tints. 
By Leigh Hunt. Published by How and 
Parson s. 

This is a graceful and beautiful poem, from the 
pen of one of the “worthies” of the age and 
country ; a poet whose pages every artist should 
consult, for they abound in pictures. This little 
volume contains half-a-dozen wood-cuts ; from 
drawings — one by Kenny Meadows, one by A. 
Clint, one by W. B. Scott, and three by J. 
Franklin. We avail ourselves of a fitting oppor- 
tunity for saying a few words respecting the 
artist last named. He is comparatively new 
to the public — new, inasmuch as although his 
productions are sufficiently numerous, he has 
had but few opportunities of making his ap- 
pearance upon the great stage under advantage- 
ous circumstances. In the “ Book of British 
Ballads,” we very lately supplied an example of 
his ability ; it was one that could not have failed 
to attract general attention. For the same publi- 
cation he has supplied many illustrations, all of 
them distinguished by great delicacy of touch and 
refinement of manner, combined with brilliant ima- 
gination, and deep reasoning and thought. We 
do not, indeed, fear to place his drawings on the 
wood, in juxta position with the best masters of the 
far-famed German school. We rejoice that into 
this more particular department of the Arts, a 
higher style and a better spirit are making rapid 
way. It is not too much to say, that for much 
of this improvement we are indebted to Mr. 
Franklin. 

The Palace or Blenheim. Drawn and litho- 
graphed by C. W. Radclyffb. Published by 
James Wyatt and Sox, Oxford. 

If there be truth in the folio volume before us Blen- 
heim is a place that would have delighted le roi che- 
valier — Francis the First, who during the entire long 
day of his life, was striving after something in archi- 
tecture that he had dreamt of, but that nobody had 
ever seen, if it could have been, with what de- 
light would the Great Marlborough have shown 
Blenheim and Francis to each other. This work 
contains eighteen views, selected with much taste, 
and treated generally with a true feeling for agree- 
able effect; indeed, many of them, with a very 
litde licence, would form admirable landscapes. 
Among the first plates in the volume we find a 
view of Blenheim, from Fair Rosamond’s Well, 
in which, looking across a piece of water, the 
palace is seen in the distance on rising ground. 
The water is crossed by a bridge of a character with 
the architecture of the edifice itself, an object which, 
together with groups of well-grown trees, entertains 
the eye in passing to the utmost distance. The 
foreground is at once remarkable for its freedom of 
pencilling and a tolerable sprinkling of venison. 
A few pages further we are conducted to the front 
of this truly regal abode, with opportunities of 
examining the details of the mixed Greek and 
Italian architecture. Two or three interior views 
are ^iven, among which the Library is conspicuous 
for its grandeur and magnificence, and of those 
showing the outside, that from the south-east is 
one of the most remarkable, as exhibiting the prin- 
cipal front and a portion of one of the sides. In 
a south view the front is seen through an opening 
between some well-drawn trees which occupy the 
foreground ; and in a north view we are removed to 
a distance, whence the towers are seen rising far 
beyond the clumps of trees which stud the park. 
The contents of the volume terminate with two 
pages of vignettes, composed principally of wooded 
scenery drawn with much grace ana natural truth. 
There ore very few mansions which, with their de- 
pendent domains, would afford so many interesting 
views; Blenheim, however, “cuts up” well, 
and the work is, in every way, worthy of the 
subject. 

Electrotint; or the Art or making Paint- 
ings IN SUCH A MANNER THAT COPPER- 
PLATES and “ Blocks,” can be taken 
FROM THEM BY MEANS OF VOLTAIC ELEC- 
TRICITY. By Thomas Sampson. Published 
by Edward Palmer. Newgate Street. 

This is a lengthy title, but we transcribe it as it 
stands, since unlike those of many books it de- 
scribes the substance of the pages by which it is 
followed. We are not however of accord with the 
author, that “ painting” is a term apposite to the 
process be describes ; his impasto material being a 


monotone unguent employed for the production of 
surface with reference to conveying impressions. 
To explain in a few words the object: of the treatise 
— it shows a method of preparing a sort of etched 
surface capable of yielding under the electrotype 
process a corresponding copper-plutt, with lines 
either in relief, or incised according to the manner 
of preparation. The work contains specimens of 
a variety of methods of working, exhibiting the 
applicability of the invention to an extensive round 
of subjects. To some of these tb.e author gives 
the names “ the painted texture,**' 4 ‘the dragged 
texture,” “the chalk style,** Ac** Ac.; whence 
may be gathered some idea of the respective sur- 
faces. The invention is well calculated to convey 
peculiarity of manner and feeling, and roust be 
found useful in many departments of Art as applied 
to manufactures ; as for instance , to earthenware- 
manufactures, calico-printers, £ :c., Ac. ; and in 
scientific works, the excellence » >f which does not 
consist in perfection of embellis hment. 

Elements or Electro Metallurgy. By 
Alfred Smrb, F.R.S. Pub lisbed by E. Pal- 
mer, 103, Newgate Street. 

The art of working in metals t'arough the agency 
of the galvanic fluid is the last of those profitable 
wonders exhibited by science, c if which thousands 
already avail themselves, wi thout bestowing a 
thought upon the natural laws x thereby they obtaiu 
the substantial results which tl ley seek. To those 
who do not wish to go beyond the Mechanical ope- 
ration of procuring a duplicate of a figured surface, 
the present treatise is not addressed, although 
such persons would, with inf .uite advantage, con- 
sult it in an inquiry into the nature of the agency 
excited in the simplest expe. riment. Tbe work is 

C ublished in monthly parts , of which three are 
efore us : the first opens ' rith a chapter on gal- 
vanic batteries, and althou gh commencing with a 
few preliminary definition i, yet the author pre- 
supposes a knowledge of chemistry. Different 
forms of batteries are tes< >ed of, as Grove's, Da- 
niell's, the author’s, Ac., £ ;c. In the second chapter 
a piece of very necessary information is communi- 
cated — the signs of a bat tery in action ; lor with- 
out such information, an . unscientific experiment- 
alist could not discover when the galvanic action 
had commenced. The a- ithor proceeds in a careful 
and perspicuous con*id« jration of his subject in all 
its relations, terminatir g the third part midway, in 
a chapter ou the laws r egnlating the reduction of 
the metals employed. “Let us never forget,” he 
says, “to whom weesre this discovery, which of 
itself enables galvanic, batteries to be used exten- 
sively in the Arts. Ages to come will, perhaps, 
have to thank the inv entor, whom we are too apt to 
forget, because he was neither on the council of 
the Royal Society, nor a London Professor, yet 
still the obligation from the public to Mr. Kemp 
is the same.'* 

The Bedale Hu it. Painted by Anson Mah- 
tin. Engraved, by W. H. Simmons. Pub- 
lishers, H. Gr. ives and Co. 

A capital print fc r the lovers of field sports. It is 
among the best f igns of the times, that gentlemen 
who are learne d in horses and hounds are no 
longer content * m have them copied by unskilful 
hands. This i i a good work of Art — the steeds 
and their ride rs are pictured with much ability, 
both, we presu me, being striking likenesses ; and 
no doubt the pedigree of the one is just as dis- 
tinctly traced as that of the other — each being high 
blood. The print contains no fewer than forty 
portraits of ' arsons whose names are familiar to 
the sportin; • calendar ; and, moreover, to the 
“ Court Go jde,” for they all hold conspicuoua 
rank amon; • our English aristocracy. The painter 
has been ' try successful in his management of a 
difficult su bject ; his grouping — the main point in 
such a me tter — is excellent, and he has arranged 
his figure i with considerable ease and skill. Mr. 
Simmons , the engraver, has performed his part of 
the task with much ability ; we have been accus- 
tomed t o meet him as a line engraver, and in that 
branch of the art he has attained to eminence ; in 
this, t< , him, new department he is destined to 
occupy a prominent place. 

Glap »gow Illustrated. Published by J. and 
D. Nichol, Montrose. Longman and Co., 
Is jndon. 

Thi j is the third part of a progressive work en- 

Digitized 


titled “ Nichol’s Cities and Towns of Scotland 
Illustrated,’* and contains twenty-one folio-sized 
views of Glasgow, executed in lithography, and 
touched with white, the first of which is the ‘ In- 
terior of the Royal Exchange,' an imposing struc- 
ture of Greet architecture. In the plate 

* Broomielaw,’ is presented a view of the port of 
Glasgow, affording a fair picture of a place of im- 
mense mercantile traffic : the effect would yet have 
been better had tbe artist treated his distances 
more liberally, and not sacrifice! them so entirely to 
the foreground. The reverse of this is the ‘ View 
from Blythswood-square the distance is not 
shut out of the picture, but remains an important 
part of it. 4 The Trongate,’ at least that part of 

I it forming the subject of the plate, declares a 

| place of wealth and consideration. The population 
are astir here ; they are as numerous as 

“ bees 

In spring time, when the sun with Taurus rides,” 
and in perfect humour with the rest of the draw- 
ing. The view, entitled * Ingram-street,' is not 
only one of the best of the series, but lias merits 
wbith entitle it to a comparison with the best 
productions of its style : the geueral effect is skil- 
fully managed, aud the palatial edifice ou the left 
is brought forward in a manner to unite with the 
surrounding buildings, without any diminution of 
its stateliness. Another admirable picture is ‘Glas- 
gow from the Clyde;' it is carefully drawn, with- 
out the slightest approach to hardness. * The 
Royal Exchange,* conveys a good idea of the 
structure, and the kind of buildings by which it is 
surrounded ; this seems to be the quartier par 
excellence: here it would appear is centered the 
pith of the architecture of Glasgow. There are 
also views of * The High-street,* * The Cathedral, 
Infirmary, and Barony Church;' 4 George-square,' 

* St. Vincent-street,’ Ac., Ac. 

Tliis, as a provincial publication, must be con- 
sidered as of some importance, and we wish the 
proprietors all the success their spirited under- 
taking deserves : the manner in which it is got up 
ought to secure an extensive circulation. 

Gandy and Baud’s Windsor Castle. 

Part VH. 

Nothing in architectural drawing and engraving 
can exceed the beauty of these plates, which have 
been executed with a view to exhibit the details of 
Windsor Castle. They are five in number, two 
lithographed by Haghe, and three engraved by 
Winkles, viz. : * Part of the North Front showing 
the Cornwall and King George the Fourth’s 
Towers,' Ac. ; ‘ View of Henry the Third’s 
Tower ;' 4 Elevation of Charles the Second’s 
Buildings, and King John’s Tower,’ Ac. ; ‘ Eleva- 
tion of the Kitchen Gateway and Towers ;’ Eleva- 
tion of the Queen’s Private Entrance.’ The first 
view is most elaborately lithographed— it is taken 
from the grounds below the terrace, and presents 
a vast expanse of front, showing in addition to the 
towers already named the erections of Henry the 
Seventh and Queen Elizabeth, in rear of the latter 
of which rises the Round Towtr. The second 
view is also a carefully finished lithograph, exhibit- 
ing with the most perfect accuracy the construc- 
tion of the buildings, and embracing, together with 
the * Tower of Henry the Third,' a portion of the 
range of the Middle Ward Ramparts, with the 
Wickham Tower seen in the distance. The effect 
of these drawings is improved by the highest lights, 
being put in with white. To architects these views 
and elevations will be highly valuable. 

L’Espagne Artistique et Monumental*. 

Published by A. Hauser, Boulevard des 

Italiens, Paris. 

Successive numbers from 8 to 12 of this work have 
appeared, verifying the promise held forth in the 
first parts ; indeed with subjects selected from a 
country so rich in the picturesque as Spain, much 
might be achieved by individual taste and talent ; 
but from such an array of celebrities as are occu- 
pied in the production of these views, with the 
accompanying letter-press in Spanish and French, 
everything is to be expected. We have already 
pronounced this the most important continental 
publication of the kind we have seen : having for a 
part of its subject-matter, the Moorish architec- 
tural remains in Spain, it treats of things which 
have existed only, in Europe, but yet are not qf it ; 
and the history of which is a tract wherein the real 
and the romantic are reconciled. Toledo supplies 

b vCooQle 



194 


S"Zv f .^K jeCt8 of the8e P lates - “ d rarohanged 
as they are with ornament, yet the faithful pencil 
baa not halted in its task; the artist is noth! Ce 
that so many of these interiors are overdone with 
u nd ^f t ' wori J’ 8uch was the taste that pre- 
™' d wbe “ wealth of Spain exceeded that of 
vrn3n ttler P^r-when other kingdoms since 
grown up were but asyet cadets of the European 

reputation ofth** 8 ’ , e . llth 9S ra P h y sustains P the 
f th e to whom it is entrusted; and 
the enterprise cannot fail of encouragement. 

Free Pi ctore Galleries. 

and Wood. ^ t,M>IBRLV * PubUshed by 

with fi res!)er f hi ?i ittle Kr 0Ok T c ?* useful information 
with respect to public galleries. It contains a 

Catalogue of the National and Dulwich Galleries, 

nf Ct \ r ? 3 ° { A th f ? oane Museum, of the 
Society of Arts, and of those of the British Mu- 
seum, In his introduction the author states that 
of every seventy-six visitors one only purchases a 
shilling catalogue; that his object inZbuXne 
this was to offer something cheaper totfie many 
who may desire a list of the pictures, but who may 
be unwilling to pay the official price. To the 
n 1 ul ? e J* 1 ^ 1 J 18 * °f collection is appended an 
thet ab ^hnnl 1St °, f th ? Painters, their chronology, 
their schools, and references to their pictures-- 

alt ° gether ma ch information as the 
mass of visitors have leisure to acquire. 

T ^y? L p MKNTS 0FLiNEAR PkRSPECTIVE, AND 
the Projection op Shadows Rv W 

p A l^T S i ( i 0f T St * John ' 8 College, Cambridge) 
Published by Longman and Co. ^ araDnage '* 

iVrphpn b ?T trC i tlSe ’ this is one of th e most com- 
Kivfv nnl r e have ever seen * lt is illustrated by 
d ^ ran i S , cut , on wood hy the author 
himself, and is addressed chiefly to mathematical 

also ' To* 'othcr^ Ugh T aVa p able i n atfordin S instruction 
also to others. In Part 2nd the Projection of 

wiVhTr ^ Cle f ly tl i eatcd of in sateen propositions 
with abundant explanatory figures ; and what we 

a l re° at^dnre ? a tU * book is ’ that the subjects 
preliminaries. entered “P<>“ without any uailess 

C Rr n ev C R T' 8T ? CS °L Pa,nterb - By Henrt 
J this njJu i 9' J °" NM « ,l “ AY . Albe <narle-8treet. 
th. l! i book the cllarftct eri*tics of many of 
in „ T r elebra ' cd artis t» are ably described, each 
notre - TI 8 ° f poet I y Prefaced by an apposite 
. | lle y were first written down as akind 

the?severnM rt ’ , t0 desaribo tb e painters to whom 
tinn wiH. » y / e at ® : . by ? ome awakened asaocia- 
nh." f • . f 7°, urUe Picture, or some general 
characteristic of the artist s genius,” and thev are 

of the , Art Writte “ by °" e " el ‘ read’iu the rn^tere 

The Castles and Aduevs op England. Nos. 
ri Wm * Biattie, M.D. Pub- 
lished by Mortimer and Hasbldrn, Wig- 
more -street. ’ B 

V'lV* “ '"Bhly interesting subject. A History of 
nki.V 1 r.’} ud , Ab , beys of England is, in short, 
habitanre 0f Th e nd . and *? “ 08t influential in- 
Aremln in I hC firs * . part . de *cribes the Castle of 
ln ^ssex,the principal seat of his Grace 

fortress nf°, N ? rf °^ . Th [ 8 “atle, or rather the 
in the anna f“n bemg ’ h .“ been * Piaee famed 
Great r t?n h„ f s,,lce ‘hat of Alfred the 

;’ r „ ea ' who bequeathed it to his nephew Athelm, 

‘7 1"* ,thoth « lordships. The P ducal houre 
V' V -n d succec 1 ded to the possession of it in 
ward ,d , ,e f cond part Of the work traces down- 
aid the history of the Howard family, particu- 

wors nTill'^ | ltS f 'Tk t disti,| g u ' 8l >ed members. The 
work is illustrated by numerous engravings. 

Transactions op the Royal Institute of 
i> Yr 1 ? 11 ! J V RCH1TRCT8 - Vol. I., Part II. 
and Co. e i8?2. I ' ONG “ AN ’ B “° WN ’ Gr “ n ’ 

membcr° s t nr e tl , ® emed °. ther than “ reproach to the 
ra ra ill 11 “°.T large and influential Aaso- 
. nra ti. 1 . li“°f? than flve years have elapsed 
vdlumi n^T’ 1 ® 3 ." of the fir8t part of their first 
tended thn^« an .? aCtl0ns * 8ucce88 which at- 

cond edkbn* 1 ™* P* 11 ?™ 8 80 eminent that a se- 
fores^m. i WU8 8 P« c . d,1 y ca »ed for; and it there- 
fore 8e ems cear no^ fitting mate- j 

rials could have prevented the committee from 1 


THE ART-UNION. 


tAuGTJST, 


again appearing before the public. Do the archi- 
tects consider it ii\fra dig. to communicate the 
result of th*sir practice to their younger colleagues, 
and implying a want of more profitable occupation ? 
or can they fet lr making their contemporaries as 
well informed ns themselves ? We will not sus- 
pect either. r jrheir silence proceeds from inert- 
ness and apatb y, which it would be well for them 
at any cost to rouse themselves from and shake 
off. Until arc hitects write more than they now 
do, their art w i 11 not hold that place in public es- 
timation to wl i ich it is fairly entitled It should 
be their aim to* disseminate information on their 
art in all shap es and by every means in their 
power, so as to lessen existing ignorance on the 
subject, and ii i. crease the number of competent 
judges. Moreox y er, so far as their own improve- 
ment is concen ted, “ writing maketh an exact 
man,’’ and indue eth close thinking. 

The volume be fore us is a most valuable contri- 
bution to architi natural literature, and cannot fail 
to maintain the reputation of the Institute at 
home and abroad ; but it affords, nevertheless, a 
proof of our ast ’ertion, inasmuch, that of the 
eleven communic Nations which it contains, five, 
and those the m< >st important, are by non-pro- 
fessional men or foreigners, namely, “ On the 
Construction of tl ie Vaults of the Middle Ages,” 
by R. Willis, M..A Hon. Member ; and “ On the 
Characteristic Ii np *enetrations of the Flamboyant 
Style,” by the sa me author ; “ The History of 
Greco-Russian Ec *clesiastical Architecture,” by 
Herr Hallmann (a • very interesting communica- 
tion) ; 44 Particu lar. i of the Cost of Public Build- 
ings in Prussia ,’ 9 b} r Herr Beuth; and 44 Obser- 
vations on Stone us ed for Building,” by Mr. C. 
H. Smith, the scul ptor, one of the gentlemen 
who were deputed by Government with Mr. 
Barry to select stoi ’ie for the New Houses of 
Parliament. 

The remaining pap l ers are, 44 On the Contem- 
porary Styles of Gotl >ic Architecture in England 
artd France,” by Ambi * 08 e Poynter, Fellow ; 4 ‘ Re- 
port of the Committee appointed to examine the 
Elgin Marbles as to t lie employment of Colour 
for Decoration 44 On the Heights of Entabla- 
ture,” by Joseph G wilt » F.S.A. ; 44 On Warming 
th«e Long Room of the (. Custom House,” by Chas. 
Fowler, Hon. Sec. ; and l communications 44 On 
the Stone Arch between tl ieWestTowers of Lincoln 
Ca thedral,” by Messrs. I Nicholson and Papworth. 

Remarks, however bri. upon each of these 

f iapers, would make this article far exceed our 
units ; we must therefore • content ourselves with 
a few observations on two « three of them. Pro- 
fessor Willis’s paper calls ■ tor, and will repay, 
attentive consideration. T, 'ie art of masonic pro- 
jection has been much mo re studied in France 
thnn in England, and has ^ een treated of by 
various writers there, sim W the time of De 
L'Orme, and more especial *y by Frezier, who 
published in 173 7 44 La Theoi ‘ ie l a Pratique de 
la Coupe des Pierres et des Bois pour la Con- 
struction des Voutes,” & c. 44 The meaning of the 
term coupedes pierres,” obsen *es Frezier, 44 is not 
th8 1 which it first presents to the mind ; it does 
no’£ exactly signify the work o f the artisan who 
cuts the stone, but the mathei 'natical science by 
which the design of a vault is t carried out, or a 
me sa of a certain figure formed by an assemblage 
of small parts. In truth,” he co otinues, 44 it re- 
quires more ingenuity than mq -bt at first be 
thought necessary, so to arrange ’ * the component 
parts that, although of unequal shaf *eand sise, they 
may fit in one with another to fi »rm a surface, 
either regular or regularly irregular, and that they 
may support themselves with no ol 'her connexion 
than their own gravity, for the mort v ? r cement 
ought never to be taken into conside ration.” 

With this art the builders of the middle ages 
were well acquainted, indeed they ma< ' 7 J>® 8ldd to 
have originated it ; and it is therefori 4 interesting 
and valuable to trace, from an examin ’*tion of the 
buildings themselves, the methods they employed. 
It is only from such examinations we c; m hope to 
arrive at the principles which guided our ^ orc " 
fathers in the construction of the works , have 

left for our admiration, and without * know- 
ledge of which we can never hope successfi even 
to imitate them. Mr. Willis has executed his task 
with a masterly hand, and has conferred a ^ C8 h 
obligation on the profession. We may obse th® 
Essay occupies 69 quarto pages, and is pix tfusely 
illustrated by engravings. 


. igitiz 


The inquiry instituted by Mr. Poynter on tbe 
contemporary Gothic of Franca and England is 
one of much interest, and is very successfully 
treated. As Rickman observed in his valuable 
chapter on the same subject, “ The styles of archi- 
tecture in different countries are not contradic- 
tions, but members of the same family, with local 
differences.” The absurd claim of remote an- 
tiquity set np by some of the French antiquaries 
for Coutances Cathedral, and some other buildings 
in France, would, if substantiated, have rendered 
the chronology of architecture very different in 
one country from the other. This, however, hav- 
ing been quite set at rest by Mr. Gaily Knightand 
some other English writers, the parallel can now 
be drawn closely. Three very nice lithographs of 
French churches accompany the essay. 

Under the bead of Construction, Mr. Smith's 
dissertations on building-stones (with a map of the 
Isle of Portland and section of the quarries) are 
the most important contributions : indeed, these 
papers cannot be studied too attentively by the 
young architect desirous, as all ought to be, to ar- 
rive at a full understanding of the subject. It is 
not merely skill in drawing or even powers of de- 
sign, which constitute an able architect. A gene- 
ral knowledge of all the sciences must be acquired 
by those who would play an efficient part, amongst 
which chemistry and geology should on no account 
be overlooked. We trust the Institute will hence- 
forth make their Transactions an annual, as they 
would so unquestionably effect much good. 

Engravings from the Works op the latb. 

Sir Thomas Lawrence, P.R.A. Part I. 

This part contains portraits of Sir William Grant,, 
the Hon. Mrs. Ashley, and Abernethy, the famou* 
surgeon. The collection will be very valuable ts 
the artist ; for the ease and grace which tha Pre- 
sident gave to his sitters, afford important lessons ; 
and these advantages can be communicated with- 
out the aid of colour. The series is well engraved, 
and the work altogether is a monument to the 
memory of the accomplished painter. 


TO CORRESPONDENTS. j 

A portrait-painter, at Manchester, calls our attention j 
to a rule, which he strongly condemns, of the West of 
England Art-Union, providing that the winner of a { 
prize “ will be allowed to have the portrait of a member 
of his family painted by an artist chosen by himself.’' ] 
The principle is entirely bad ; and can be defended upon 
no good ground. ! 

A correspondent informs us that, 44 when people 
asked Wilson what he painted with, he said konmC 
linseed, which he always U6ed out of a hollow oyster- 
shell.” 

In answer to the objection concerning our letterron 
44 Vehicles,” wc have only to say that good way arise 
out of them ; wc confess, however, that we are not . 
sanguine ou the subject. But it is only by discussion 
we can discover truth ; and wc do not occupy a very * 
large space in considering the matter— one certainly at 
very great importance. 

A correspondent requests us to give to 44 Sir Robert 
Peel a hint there is at this time a sketch of Rubens, tha- [ 
centre of the Whitehall ceiling, now to be disposed uC. 

It was at Wilkie's elbow when be painted ; it was par- 
chased at his sale; and would be one of the moat j 
valuable additions to the National Gallery that could i ! 
be placed there, as it is one of his most pure and bill- 
liant studies.” .. 

Our Glasgow correspondent will perceive that we have » j 
anticipated his information. We are glad to find that, 1‘ 
44 considering the general depression of trade that has [ 
for some time existed in this great emporium of the ^ 
west, we may well conclude, that a true spirit for tbe ! ( 
encouragement of Art is rapidly extending itself k 
throughout all classes of tbe community.” , 

Wc have elsewhere referred to the forthcoming 44 Re- 
port of the Royal Commission,” of which we shall, of 
course, give a foil abstract. 

We hope to hear again of the movements of our cor- 
respondent at Antwerp. ‘ 

There can be no possible objection to the course which 
44 An Amateur” considers desirable in reference to Bir- _ 

mingham. • 

The particulars relative to the piste required at Man- 
Chester may be known by application to the Secretary. 

An advertisement on tbe subject appeared in the Ait- , 

Union for July. ; 

! 


1842 .] 


THE ART-UNION 


195 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45. FLEET-STREET, 
• comer of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, tnat they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and free of postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be haa gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 

C HIMNEY GLASSES, PICTURE 
FRAMES, CHEVAL and TOILET GLASSES, 
CONSOLE TABLES, WINDOW CORNICES, 
SCREENS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 
WORKING CARVER and GILDER, 19, ST. MAR- 
TI N’S-COURT, St. Martin’s-lane.— P. G. manufactur- 
ing every article on the premises, is thereby enabled to 
offer them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of charge. A list of the 
prices of Piste Glass, &c. sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on hand, at reduced 
prices. 

PAPIER MACHE PICTURE FRAMES. 

A RTISTS, PICTURE DEALERS, and other*, 
are respectfully informed that C. F. BIELFIELD 
has formed a large collection of new and elegant de- 
signs for PICTURE FRAMES, in the IMPROVED 
PAPIER MACHE. The superiority of these Frames 
consists in their having all the effect of old carved 
work ; many of the patterns represent exactly the finest 
carvings of the seventeenth century. The small parts 
are far less liable to injury than potty work : Papier 
Machd being a remarkably tough and hard substance, 
it never shrinks, and takes gilding very freely. The 
Frames do not weigh one cmarter the weight of others, 
and their price is below that usually charged. Many 
apecimeus are now on view at BIELFIKLD’S PAPIER 
MACHE WORKS, 15, WELLINGTON - STREET 
NORTH, STRAND; where, also, pattern books may 
be had, price 14s., consisting of a variety of patterns 
of Picture and Glass Frames, and Wiudow Cornices, 
already erected and on sale. 

PAINTING IN OIL. 

By her Majesty's Royal Letters Patent, and nnder the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular be wishes to express his great 
obligations— he, his father, and his predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealiug in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genoine are made of Purified Tin, have the 
words “ BROWN’S PATENT” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 


T O GENTLEMEN. ARCHITECTS, and 
Others.— SLOPER’3 CONTINENTAL MARBLE 
PAPER HANGINGS, invented and manufactured only 
by J. 8LOPER, No. 106, HIGH-STREET, MARYLE- 
BONE.— J. S. solicits an inspection of his Continental 
Marble Papers, expressly adapted for halls, staircases. 
&c., being natural imitations of the most beautiful 
foreign marbles, worked in. blocks of any dimensions, 
and differing in every way from anything hitherto ma- 
nufactured in England, well deserving the attention of 
all connected with good buildings. Good bed-room 
paper, Id. per yard: handsome drawing-room. 8d. ; 
dining and library, 6tL ; best gold moulding, 6d. per 
yard. House painting and decorating 15 per cent, less 
than usually charged. Estimates given. Patterns sent 
to all parts of the country.— Observe, J. Sloper, 106, 
H igh-street, Ma rylebone . 

AK CARVINGS for CHURCH 
DECORATIONS, &c.— Me*srs. BRAITH WAITE 
and CO., Proprietors of the patent method of CARV- 
ING in SOLID WOOD, beg leave to invite the No- 
bility, Clergy, and Architects, to view their Specimens 
of Oak Carvings, suitable to the Gothic Embellish- 
ments of Cathedrals and Churches, such as Stalls, 
Panelling, enriched Tracery, Chairs, Communion-rails, 
Tables, Altar-screens, Pulpits, Reading-desks, Lecterns, 
Stall-heads, Finials, Organ-screens, Gallery-fronts, &c., 
at one half the price usually charged. 

Estimates given, and contracts entered into, for the 
entire fitting-up, restoration, or repairs, of any Ca- 
thedral, Church, or Mansion. 

By their process a most important saving in expense 
and time will be found in the fitting or repairs of 
Churches or Mansions, either in the Gothic or Eliza- 
bethan style, in any description of wood. It is equally 
applicable to Elizabethan or Gothic Furniture, such as 
Choirs, Book-cases, Cabinets, Tables, Picture-frames, 
Coats of Arms, Mouldings, &c., &c.— No. 5, HEN- 
RI ETTA-STREE T , COVENT-GARDEN. 

N OTICE.— PATENT RELIEVO LEATHER 
HANGINGS and C ARTON-TO I LE OFFICE, 
52, Regent- street, next to the County Fire Office.— The 
Nobility and Public are respectfully informed, that our 
Works of Art in the PATENT RELIEVO LEATHERS, 
the CARTON-TOILK, &c., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 52, 
Regent-street, where au immense number of Designs 
are constantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels, Caryatides, 
Foilage, Patterns, Busts, Mouldings, Book Covers, 
Album Covers, Screens, &c., &c. f in every style of 
Decoration, and for every possible use to which orna- 
mental leathers can be applied, and at a considerable 
reduction in price. We beg to notice, that this Firm 
only will continue to receive monthly from us all new 
Patterns and Designs in our manufactures. 

L. COMETTI and CO., 10, Rue Basse dn Rem part, 
Paris.— May 25, 1842. 

D1MF.S AND CO. (late WARING and DIMES) 
ARTISTS’ COLOURMEN. 91, GREAT RUSSELL. 
STREET, BLOOMSBURY. 

F DIMES begs to inform the Profession, 
• that the PARTNERSHIP subsisting betw'een 
himself and Mr. George Waring has been DISSOLVED 
by mutual consent, and that in future the Business will 
be continued under the name of DIM ES and CO. 

To those Gentlemen who have given their patronage 
to the late firm, he begs to return his grateftil acknow- 
ledgments, trusting to have their continued support, 
assuring them that all the articles he manufactures ami 
sells shall receive every attention to insure the best 
quality. Subjoined is enumerated a few Articles, to 
which attention is respectfully requested : — 

.CANVASS WITH INDIA RUBBER GROUND.— 
The eligibility of this article having been thoroughly 
acknowledged, and it having received the patronage of 
the first artists in the kingdom, those gentlemen who 
desire that the labours of their pencils should be pre- 
served from the effects of time (too visible in some of 
the finest productions of the Art), this Canvass is par- 
ticularly recommended, as it is never subject to crack 
or peel, and the surface is very agreeable to paint on. 

Patent Collapsible Metallic Tubes for Oil Colours. — 
The Patentee having thrown these Tubes open to the 
trade, 1). and Co. can supply them at 6d. each colour, 
extra colours also in proportion ; also, tubes of Oils’’ 
Varnishes, M'Guelp, and Asphaltum. , 

Zinc Tablets for Painting in Oil.— The surfaces of 
these Tablets are w ell adapted for highly- finished paint- 
ings, and superior to panels or milled boards. 

Water-Colours in Cakes or Moist, filled in mahogany 
or japanned boxes for sketching. 

Wnatman’s Drawing Paper, all sizes and thicknesses. 
J. D. H., ditto. 

Tinted or Academy Paper, in great variety of tints 
for chalk or pencil. 

Genuine Cumberland Lead Pencils, warranted of 
pure lead. 

Chalks and Crayons of all descriptions. 

French, Hog, and Sable Hair Brushes for Oil and 
Water-Colour Painting. 

Marble Slabs mounted, prepared for Miniature Paint- 

rawing Boards, Easels, T Squares, and every article 
for Architectural Draughtsmen. 

Drawings and Paintings lent to copy. 


MILLER’S SILICA 
COLOURS. 

The daily increasing patronage bestowed on these 
Colours by Artists of the first eminence, while it is 
gratifying in the highest degree to the inventor, is, at 
the same time, an acknowledgment of the soundness of 
those principles npon which they are manufactured. 
It will be sufficient to repeat that, being composed of 
substances identical or similar to those used by the old 
masters (the brilliancy of whose works, after the lapse 
of centuries, is an incontestible proof of the superiority 
of ancient colouring). The Silica Colours will ever 
retain their freshness, transparency, and gem-like 
lusture uninjured by atmospheric influence and unim- 
paired by time. 

The SILICA OIL COLOURS are prepared in col- 
lapsible tubes, and can be forwarded per post to any 
part of the country, on receipt of au order, for any of 
the under- mentioned tints, viz. : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK’S GLASS MEDIUM 
FOR OIL PAINTING. 

This Medium, having been tried by Artists of the 
first eminence, is found to be the grand desideratum 
for removing the existing evils of the Modem School ; 
namely, the destructive effects of Varnishes, Oils, aud 
M'guclps, as all pictures painted with them, after a 
time, lose their transparency and brilliancy, and be- 
come horny, spotted, and dark-coloured; whereas 
those painted with the Glass Medium have a roost 
brilliant effect, and will be found to remain perfectly 
unchanged, as its durability can only be compared to 
painting in enamel. 

Glass Medium in Bottles. 

No. 1. For first and second painting. 

No. 2. For third painting, finishing, and glazing. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s Florentine Oil. 

T. MILLER, being the original preparer of this 
Invaluable Medium, has the honour of supplying 
the President and Members of the Royal Academy. 

The SILICA WATER COLOURS are prepared in 
small squares, which possess many and great ad- 
vantages over the Cake and Moist Water Colours at 
present in use ; and can be forwarded per post to any 
part of the country, on receipt of an order for any 
of the above-mentioned tints. 

MILLER’S GLASS MEDIUM. 

It is well known that some preparation for giving 
brilliancy and depth to Water-Colour Painting, and lor 
enabling the Artist to repeat his touches without dis- 
turbing the colours already laid on, has been loug 
sought after ; this new vehicle possesses all these ad. 
vantages. When mixed with the colours it has a most 
brilliant effect, and will preserve delicate tints uuin- 
jured ; in durability it will approach nearer to Oil 
Painting than anything hitherto in use. 

Glass Medium in Bottles. 

No. 1. For first colouring or laying on masses of 
colour. This dries so hard that the second colouring 
or finishing will not disturb it. 

No. 2. For second colouring, glazing, and finishing. 

PREPARED BLACK LEAD IN CAKES. 

This beautiful preparation of Black Lead is a substi- 
tute for the Lead Pencil, over which it possesses many 
advantages; among which are the depth and clearness 
it imparts to the shadows of the drawing, and the soft- 
ness and delicacy with which the lighter parts may be 
handled. As it is used (like a water-colour) with the 
camcl’s-hair pencil, it admits of great rapidity of exe- 
cution and boldness of effect, as a large surface may be 
speedily covered, and inteusc and delicate tints pro- 
duced with equal facility; and without any of the 
porousness which is so apparent in the lead pencil, or 
the least risk from rubbing or exposure. 

MILLER’S Artists’ Colour Manufactory, 

56, Long-acre, London. 



lyvjiUUyit 


Digitizi 



196 


THE ART-UNION. 


[August, 1842. 


THR SOUVENIR OF THE BAL COSTUME. 

M essrs. Paul and dominic 

COLXAGHI and CO., Publishers to her Ma- 
jesty the Queen, 14, PALL MALL EAST, beg to state 
that they have been honoured by her Majesty’s com- 
mands from the lx>rd Chamberlain, to insert in the 
first portion of the “SOUVENIR,” the following 
Personages composing her Majesty’s Court of Edward 
the Third 

Colonel Arbuthnot 
Karl Jenny n 
Karl of Beverley 
Duke of Burclcuch 
Marquis of Salisbury 


The Queen 
Lady Jocelyn 
Hon. Mrs. Anson 
Hon. Miss Liddell 
Hon. Miss Devereux 
Countess of Kosslyn 
Viscount Sydney 
IiOrd Charles Wellesley 
Earl of Kosslyn 
Colonel D. Darner 
Colonel Keid 
Marquis of Xormanby 
Earl of Arundel 
The Prince 
Karl of Liverpool 
Karl De la VVarr 
Earl of Jersey 
Marquis of Exeter 
Marquis of Ormond 
Captain Buncombe 

In accordance, therefore, with her Majesty’s com 
mands, the earlier Numbers will contain the entire 
Court of her Majesty a* Queen Philippa, and Supple- 
mentary Numbers will from time to time appear, con- 
tinuing: the Quadrilles. The work when completed 
will bind un in two volumes. 

Vol. 1. Tne Court of her Majesty as Queen Philippa. 
Vol. II. The Duchess of Cambridge’s Quadrille. 

Content* of the first Supplementary Number: 

Her Royal Highness the I Her Grnce the Duchess of 


Earl De Grey 
Duchess of Buccleuch 
Lady Portman 
Hon. Mrs. Brand 
Hon. Miss Paget 
Hon. Miss Stanley 
Duchess of Koxburghe 
Captain Seymour 
Colonel Wylde 
Lord K. Bruce 
Lord Forester 
Duke of Roxhurghe 
Earl of Warwick 
Four Pages of Honour 


Beaufort 
The Countess of Jersey 


Duchess of Cambridge 
Her Grace the Duchess of 

Sutherland 

The work will be completed in fifteen or twenty 
Numbers, from Drawings by Mr. Coke Smyth, to 
whom every person pourt rayed will have sat for their 
likeness. Messrs. Coluaghi have secured the services 
of J. It. Planche*, Esq., F.S.A., for the prefatory mutter 
and descriptive letterpress. 

No. 2 is now ready. 

r flnUn)8 . / Viscountess Jocelyn | Earl De la Warr 
Contents . j Udy Portni(in | Kar , 0 f Jersey. 

Subscribers’ names received by the Publishers, at 
their sole Establishment, 14, Pall Mall East. Price per 
Part, *21 s. correctly coloured. 

N.B. W ith the publication of the Third Number, the 
price of each Part will be raised to 28s. to Non-Sub- 
scribers. 

Messrs. Colnaghi beg that this work may be con- 
founded with no other. They have authority to an- 
nounce that this publication is the only one dedicated 
to the Queen ana Prince Albert, and under her Ma- 
jesty’s immediate patronage. 

Published this dav, 12mo., 2s. 6d. cloth, 

T he elements of linear 

PERSPECTIVE and the PROJECTION of 
SHADOWS; adapted to the use of Mathematical and 
Drawing Classes and Private Students. With Sixty- 
one Diagrams on Wood. By W. Barnes, of St. John’s 
College, Cambiidge. 

London : Longman, Brown, and Co. ; and Hamilton 

and C o. 

T 1 1 OM >< >N \S SEASON 3 1 LLU ST RATTED. 
Published this day, square crown 8vo., 21s., hand- 
somely hound in ultramarine doth ; or SGs. hound 
in uiorrcco, in the best manner by Hoyday, 

T HOMSON’S SEASONS. Edited by Bol- 
ton Cokmky, Esq. With the Life of the Author, 
by Patrick Murdoch, D.D., F.R.8. With nearly 
Eighty engraved Illustrations, from Designs drawn ou 
Wood by eminent Artists. 

*** One hundred copies, on prepared paper, 42 2s. 
each. 

London : Longman, Brown, Green, and Longmans. 
Just published, imperial Svo., handsomely bound, 24s., 

T HE USE of a BOX of COLOURS. By 
II arrv Willson, author of “ Fugitive Sketches 
in Rome, Venice,” &c. Ac. Being Practical Instruc- 
tion on Composition, Light and Shade, and Painting. 
Illustrated with beautiful Patent Lithotint examples, 
plain and coloured. Also a Box of general Landscape 
Tints have been prepared to accompany the same. 

London: C. Smith, 34, Marvlehoue Quadrant; Tilt 
and Uogue, Fleet-street; and aB other Publishers, Sta- 
tioners, Ac. 

C emi:nt’~ T o arch itects. builders, 

ami Others.— The PATENT STUCCO PAINT 
CEMENT. Its extraordinary qualities are rapidly be- 
aoming well known and appreciated. It will adhere to 
cny substance or surface. No Wet, or Damp, or Frost, 
can have uuy otter t on it; time hardens ana improves 
it; a house covered with it becomes encased in stone; 
the cost is trifling; the invention is a fortune to buil- 
ders, and to all who are interested iu house property, 
old or new. 

The sole agents for the Patentees are Messrs. MANN 
and Co., 5, Maiden-lane, Queen-street, Cheapside. 


MB.* MURRAY’S 

HANDBOOKS FOR TRAVELLERS, 

Giving detailed and precise Information respecting 
STEAMERS, PASSPORTS, TABLES OF MONIES, 
GUIDES, AND SERVANTS; 

WITH 

DIRECTIONS FOR TRAVELLERS AND 
HINTS FOR TOURS, 

Ac. Ac. Ac. 


The following are now ready, 

i. 

H olland, Belgium, Prussia, north 

GERMANY, AND THE RHINE TO SWIT- 
ZERLAND. 

New Edition, thoroughly revised. Map. Post 8vo., 10«. 
ii. 

SOUTHERN GERMANY, BAVARIA, 
AUSTRIA, TYROL, SALZBURG, STYRIA, AUS- 
TRIAN AND BAVARIAN ALPS. THE DANUBE, 
FROM ULM TO THE BLACK. SEA. 

New Edition, thoroughly revised. Map. Post Svo., 10s. 

in. 

SWITZERLAND, SAVOY, and PIEDMONT. 
New Edition, thoroughly revised. Map. Post 8vo., 10s. 
iv. 

DENMARK, NORWAY, SWEDEN, and 
RUSSIA. 

Maps and Plans. Post 8vo., 12s. 

v. 

MALTA, THE IONIAN ISLANDS, 
GREECE, TURKEY, ASIA MINOR, AND CON- 
STANTINOPLE. 

Maps. Post 8vo., 15s. 

vi. 

NORTHERN ITALY, THE STATES OF 
SARDINIA, GENOA, AND THE RIVIERA, VENICE, 
LOMBARDY, AND TUSCANY. 

Map. PostSvo. Nearly ready. 

vii. 

SOUTHERN ITALY, THE PAPAL STATES, 

ROME, NAPLES, AND SICILY. 

Map. Post 8vo. Nearly ready. 

VIII. 

FRANCE, NORMANDY, BRITTANY ; 
THE RIVERS LOIRE, SEINE, RHONK, AND 
GARONNE; THE FRENCH ALPS, DAUPHINE, 
PROVENCE, AND THE PYRENEES. 

Map. Post Svo. Nearly ready. 

The following Handbooks are also ready. 

IX. 

PUBLIC GALLERIES OF ART, IN AND 
NEAR LONDON. Containing — The National 
Gadcry; Windsor Castle; Hampton Court; Dulwich 
Gallery; Mr. Soane’s Museum ; Barry’s Pictures. 

Pott 8 vo., 18s. 

x. 

ITALIAN PAINTING: from the Age of 
Constantine the Great to the Present Time. 

Post 8vo., 12s. 

XI. 

WINDSOR CASTLE AND ETON : A Guide 
to the Palace, Picture Gallery, and Gardens. 

Foolscap 8vo., 5s. 

XII. 

HAMPTON COURT AND NEIGHBOUR- 
HOOD: A Road book to the Palace, and a Guide to 
its Picture Gallery and Gardena. 

New Edition, thoroughly revised. Fcap. 8vo., 2k. 6d. 

XIII. 

WESTMINSTER ABBEY, ITS ART, 
ARCHITECTURE, AND ASSOCIATIONS. 

Fcap. 8vo., 2s. 6d. 

V “Mi. Murray's Hand hooks” are all bound, 
and have his name on the outside. 


JOHN MURRAY, ALBEMARLE-STREET. 


This day is published, price 5s., the 

B ook of British ballads. 

Edited by S. C. Hall, Esq., F.S.A. 

Part III. containing — Tbe ’Blind Beggar' (con- 
cluded); illustrated by J. Gilbert; engraved by Vaze- 
telly — * Robin Goodfellow ;’ illustrated by R. Dadds ; 
engraved by Green— ’Sir Patrick Spens;’ illustrated by 
J. Frankling ; engraved by Armstrong— 1 Gil Morice ;’ 
illustrated by K. Meadows; engraved by Smith and 
Linton—* Sir Aldingar illustrated by J. Gilbert ; en- 
graved by Gilks and Folkard— ‘ Sir Lancelot Du Lake ;' 
illustrated by E. Corbould; engraved by Smith and 
Linton. Also, 

T HE ILLUSTRATED ITINERARY OF 

LANCASHIRE: witrf seven landscapes, engraved 
on steel- a map of the country, and 1 70 woodcuts,— being 
the second volume of** England in the Nineteenth Cen- 
tury,” price 22s. 6d., in half-morocco. 

London : How and Parsons, 132. Fleet-street. 

Messrs. COLNAGHI and PUCKLE, No. 23, Cockapnr- 
street, Chari ng-cross, Printsellers to her Majesty tbe 
Queen, have to announce the publication or the 
following Engravings and Works, viz.. Portraits of 

H ER MAJESTY and H. R. H. PRINCE 
ALBERT. Engraved by Frbdbkick Bacon, 
Esq., from the original Miniatures painted by W. 
C. Rosa, Esq., A.R.A., her Majesty’s Miniature Painter. 

H R. H. the DUCHESS of KENT. 

• A Companion to the Portraits of her Majesty 
and the Prince, by tbe same Artists. 

These beautiful Prints, executed in the line manner, 
are of the same size as the Miniatures, and are as much 
suited for framing as for the Porifolio of the Amateur. 
They are acknowledged to be by far the best Portraits 
of her Majesty, H. R. H. the Prince, and H. R. H. the 
Duchess of Kent. Prints, 10s. (id. Proofs, 41 Is. 
Autograph Proofs, j 62 2s. 

H IS GRACE the DUKE of WELLINGTON. 

A half-length Print, engraved by T. H. Ryall, 
Esq., Engraver to tbe Queen, from the original Picture 
bv H. P. Bkioos, Esq., R.A., painted for the Right 
lfon. Lord WharnclifTe. Of this admirable Picture, by 
far the best likeness of his Grace since the celebrated 
Portrait executed in 1823 by Sir Thomas Lawrence, 
for the Right Hon. Charles Arbuthnot, one cannot 
speak too favourably. It represents the Duke in tbe 
fulness of years and wisdom. Prints, 4\ Is. Proofs, 
42 2s. Autograph Proofs, 42 3s. 

T HE RIGHT REV. JOHN KAYE, DD., 
Lord Bishop of Lincoln, unitor of King’s College, 
Cambridge, and Lincoln and Drazenose College, Ox- 
ford, F R.S. The Print by Mr. Ryall, from Mr. S. 
Lane’s very excellent Portrait of his lordship, it of the 
usual size of half-lengths. Prints, 41 Is. Proofk, 
42 28. Autograph Proofs, 42 3s. 

H ER MAJESTY’S DOGS, DASH, NERO. 

and HECTOR, and a favourite LORY. Engraved 
in Mezzotinto by Prkdbnick Bacon*, Esq., from the 
original Picture in tbe Royal Collection, by Edward 
Landskkr, Esq., K.A. This is in size a Companion 
to Mr. Cousins’s celebrated Print of " Bolton Abbey.” 
Prints, 42 2s. Proofs, 44 4s. Firat Proofs, 4C 6s. 

6. 

The following will be published in the course of the 
month : — 

T WENTY-FOUR VIEWS IN THE FRENCH 
PYRRNF.ES, Lithographed by IIaqhb, Bourns, 
Dodoson, Allow, Walton, Ac., from the original 
Drawings, executad upon tbe sjiot by W i lliam Oli vbr. 
Esq. A work of great fidelity and extremely well exe- 
cuted, forming an excellent companion to Vivian, 
Roberts, Hughes, Hagbe, Lewis, Ac. Plain copies, 
with tint, 44. 4s. Coloured copies , mounted, 4 10. 10s. 

P ARLOURS PATENT DELINEATOR. — 
This beautiful Instrument, having been greatly 
improved and simplified by the Patentee, is now of- 
fered to the public in its present portable form, at tbe 
Teduced price of 42 2s. it is universally allowed to be 
infinitely superior to the Camera Lucida for the pur- 
pose of Drawing or Sketching from Nature.— Manu- 
fketured and sold, wholesale and retail for tbe Paten- 
tee, by his Agents, Messrs. REEVES and SONS, 150, 
Cheapside, London ; and may be had of all Opticians, 
Stationers, or at A rtiste* Repositories. 

RAND'S 'PATENT 

METALLIC COLLAPSIBLE TUBES 

FOR OIL COLO URS. 

J RAND, the Inventor, Patentee, and sole 
• Manufacturer of the above, during tbe time they 
were known to the profession solely under tbe name 
of “ Brown’s Patent,” baa made arrangements with 
Messrs. Winsor and Newton, of 38, Rath bone- pi ace, 
by which that firm are supplied by him with Tubes 
or the same description as those so long supplied by 
J. Rand to Mr. Brown.— August 1st, 1842. 

WINSOR and NEWTON, of 38. RATHBONE- 
PLACF, respectfully announce, that they have on sale 
Oil Colours In Rand’s Patent Collapsible Tubes, whole- 
sale, retail, and for exportation. 


London:— Priuted at th« Office of Palmer and Clayton, 10, Crane Court, Pleat Street, aod Published by How and Parsons, 132, Fleet Street,— August 1, 1862. 



THE ART-UNION. 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
&c. &c. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 44. 


LONDON: SEPTEMBER 1, 1842. 


Prick It. 


THIS JOURNAL BRING STAMPED, CIRCULATES, POSTAGE PRES, TO ALL PARTS OP TUB UNITED KINGDOM. 


G overnment school of design, 

Somerset- House, August 17, 1849. 

Notice is hereby given, that toe FEMALE CLASS of 
the SCHOOL of DESIGN will be OPENED here on 
MONDAY, the 24tb of October next, under the 
management of Mrs. M‘Ian. — Forms of application 
for admission to the Class may be obtained at the 
School. W. Dyck, Director. 


F REE EXHIBITION.— The Public are in- 
▼ited to inspect the PICTURES and other 
WORKS of ART (270 in number), selected by the 
IMzcbolders in the ART-UNION of LONDON, and 
now EXHIBITING to the Subscribers, at the BRI- 
TISH ARTISTS* GALLERY, SUFFOLK-STREBT, 
PALL-MALL EAST, on the 5th, 6th, 7th, 8th, 9th, 
and 10th of Srptbmbbb, between the hours of Eight 
and Six. The subscription lists are now open. 

Gborgk Godwin, Jun.,\ ~ „ 

Lewi. Pocock, / Hon ' Sec ‘- 

Ofllce, 4, Trafalgar- sq uare. I 

HE MANCHESTER ASSOCIATION FOR 
THE PROMOTION OF THE FINE ARTS.— 
The Committee, up to the end of September instant, 
are open to the offer of an UNPUBLISHED ENGRAV- 
ING, for distribution amongst the Subscribers of the 
present year. 

Applications in the mean time, and up to the said 
period, stating the lowest price per 100 for Plain and 
Proof Impressions, to be addressed to the Hon. Secretary, 
at the Royal Institution, Manchester, to whom Speci- 
mens, complete or in progress, may also be sent. 

1. W. WlNSTANLEY, Hon.9cC. 

Just published, 

A BEAUTIFUL ENGRAVING OF 

T HE BE DALE HUNT, uniform in size and 
style with the “ Royal Hunt,*’ the “Melton 
Meet,** and the “ Melton Breakfast.” Engraved in the 
finest style of Mezzotinto by W. H. Simmons, from 
the original Picture by Anson A. Martin, Esq. 

Price, each— Prints, j?3 3s. Proofs, Jcb 5s. Before 
Letters. jC6 6s. 

“ This splendid Print contains upwards of Forty 
Portraits or the most celebrated Sportsmen of the day, 
and is a gem in the annals of the Chase.”— Sporting 
Review. 

London : Published by Henry Graves and Co., 
Publishers to her Majesty and bis Royal Highness 
Prince Albert, Pall Mali. 

R oyal botanic society of 

LONDON; GARDENS, INNER CIRCLE, RE- 
GENT’S PARK. EXHIBITIONS, 1843.— The Council 
hereby give notice, that in the course of the ensuing 
year. Exhibitions will be held in the Gardens, at which 
Premiums will be awarded for the best Specimens of 
Ornamental and Interesting Plants and Flowers, and 
of Paintings, Drawings, Works of Art, and Manufac- 
tures, in which the representation of Plants and Flowers 
is introduced. 

Fallparticuiars will be announced in future adver- 
tisements. 

By order of the Council, 

James de Carle SowerbV, Sec. 
Angnst 6th, 1842. 

I MPORTANT TO ARTISTS. — Immediate 
EMPLOYMENT may be obtained by ARTISTS 
Capable of making good Original Designs suitable for 
Illustration of Books and Periodicals. 

Apply personally, with Specimens, any morning be- 
tween nine and ten o’clock, at 103, Newgate- street, 
London. 


Just published, imperial 8vo., handsomely bound, 24s., 

T HE USE of a BOX of COLOURS. By 
Harry Willson, author of “ Fugitive Sketches 
in Rome, Venice,” &c. &c. Being Practical Instruc- 
tion on Composition, Light and Shade, and Painting. 
Illustrated with beautiful Patent Lithotint examples. 


t loners, &c. 

Now ready, for the Sketching Season, 

S HADE’S NEW PATENT PERSPECTIVE 
DELINEATOR and SKETCHING APPA- 
RATUS ; by means of which Landscapes and all other 
objects can be drawn in true Perspective, with the 
utmost facility, without failure, and with the same ease 
as writing a letter. 

Also, SHADE’S PATENT METALLIC SKETCH- 
ING SEATS, combining the usual strength with a 
tenth part only of their bulk and weight. 

Sold at SMITH and WARNE’S, ARTISTS’ REPO- 
SITORY^, MARYLEBONE-STREBT, QUADRANT, 
LONDON. 


HAGHE’S BEAUTIFUL WORK OF THE. 

P ASSES in AFGH AUNISTAN. 

Consisting of 26 most highly-finished plates, from 
drawings made on the spot by James Atkinson, Esq., 
Superintending Surgeon of the Army of the Indus. 

With descriptive letter-press. 

Among other most interesting events depicted is *< The 
Surrender of Dost Mahomed to Sir W. M‘Naghten”— 
•* The Staff of Lord Keane,” &c. &c. 

Imperial folio, half-bound morocco, 4s. Coloured 
and mounted, in a folio, £ 10 10s. 

Also now ready, 

M ORISON'S HADDON HALL. 

Uniform with Nash’s Mansions, &c. 
Twenty-six plates. Imperial folio, half morocco, 4 4a. 
Coloured and mounted in a portfolio, jfflO 1 0s. 
London: Published by Henry Graves and Company, 
6, Pall-mall; W. H. Allen and Co., Leadenhall-street; 
and Longman and Co., Paternoster-row. 

imperial 32mo., gilt edges, price, price Is., 

T HE LADIES’ HAND-BOOK of FANCY 
NF.KDLE-WORK and EMBROIDERY, con- 
taining plain and ample Instructions whereby to 
become a perfect Mistress of those delightful Arts. 
Second Edit., price 4s. 6d. cloth; 6s. silk; 8s. morocco, 

T HE ENGLISH MAIDEN ; her Moral and 
Domestic Duties. 

“ A little work well worthy, from its good sente and 
good feelings, to be a permanent and favourite monitor 
to our fair countrywomen.”— Morning Herald, 
is., 

L IFE OF ST. IGNATIUS, Bishop of Antioch. 

Being No. I. of a Series of the Lives of the 
Fathers, Saints, and Martyrs of the early Christian 
Church. 

Imperial 32mo, gilt edges, price Is., 

T HE HAND BOOK of the ELEMENTS of 
PAINTING in OIL; with an Appendix, con- 
taining Sir Joshua Reynold’s Observations and In- 
structions to Students. 

“ A Work of great utility to the young Artist and 
Amateur.”— Polytechnic Journal. 

G. H. Clarke and Co., Publishers, 66, Old-Bailey. 

%* H. G. C. and Co. have made arrangements to 
publish Books on Commission: Terms, which are 
liberal, may be known at above. 


BY COMMAND OF HER MAJESTY. 

In 8vo., price Is., or, postage free, is. Cd., 

R EPORT of the COMMISSIONERS on the 
FINE ARTS, with the Appendixes, and a Criti- 
cal Examination of, and Explanatory Introduction to, 
the whole. 

Also, in 8vo., price Is., or, postage free, Is. 6d., 

The NEW COPYRIGHT ACT. with an Ex- 
planatory Introduction and copious Explanation ; and 
the Act in full. By a Barrister. This is of essential 
import to all Book, Print, Map, and Music Publishers 
and Printers ; to Authors, Artists, and all Patrons of 
Literature and the Fine Arts. 

James Gilbert, 49, Pater noster-row. 

To Calico Printers, Paper Stainers, Inventors and 
Manufacturers of all Articles to which Designs may 
be applicable for pattern, shape, configuration or 
ornament. 

Preparing for immediate publication, in post 8vo., 
Dedicated to J. Emerson Tennent, Esq., 

O BSERVATIONS on EXTENSION of PRO- 
TECTION, with a view to the improvement of 
BRITISM-flAffl’E ; including THE ACT; passed Au- 
gust, 1*2,— foi consolidating and amending the Laws 
relating to THE COPYRIGHT OF DESIGNS, to which 
will be added ngal and practical Notes, with instruc- 
tions relative to the Registering of Designs. By Geo rob 
Brace, Secretary to the Linen Drapers’, Silk Mercers’, 
Lacemen’s, Haberdashers’, and Hosiers’ Institution. 

London : Shiith, Elder and Co., 65, Cornhill. 

Just published, price 16s., 

T HE SKETCHER’S GUIDE; a light and 
portable Apparatus for Drawing Landscape, and 
other Outlines, in Perspective, without Elementary 
Knowledge. To which is added, a Compendium of the 
Rules of Pkrsprctive and Effect. 

By W. F. Elliot, Esq. 

There are few persons, unacquainted with the art of 
Drawing, but have (either when travelling, or at other 
periods of their lives), had frequent occasion to lament 
that deficiency. The diiticalties in the way of sketch- 
ing objecU correctly, without a knowledge of the laws 
which regulate Optical Perspective, have been so great, 
and hitherto so forcibly felt, as to be considered in- 
superable. Messrs. Fuller, however, are happy to an- 
nounce, that, in “ The Sketcber’s Guide,” they have 
perfected an apparatus, extremely simple, and as porta- 
ble as a hand-book, by means of which those obstacles 
are overcome; and any person, by simply attending to 
the printed instructions, may draw Landscapes, or other 
objects, as faithfully as they are presented to the eye. 

And, in order to simplify aud encourage the study of 
Perspective and pictorial composition, they have added 
to the above a Synopsis of the Rules of Perspective and 
Effect; clearly and popularly written, and containing 
numerous Illustrative Examples. 

To persons travelling, either on the Continent or 
elsewhere, “ The Sketcher’s Guide” will be an inva- 
luable companion ; as, by its assistance, there is not a 
single scene of interest but may be secured, to give 
birth to pleasurable, if not useful, reminiscences at 
some future period. The student in Drawing and Per- 
spective will also find it an important help. It will 
facilitate his progress by demonstrating practically the 
application of the rules he may have learnt theoretically. 
At the same time, the letter-press and illustrations will 
teach him the most approved methods of combining 
and treating his subjects to compose a picture. 

Orders should be immediately given to Messrs. Ful- 
ler. 34, Rathbone-place, or through any Book or Print- 
seller in Town or Country. 

London: Published by S. and J. Fuller, at their 
Temple of Fancy and Artists’ Repository, 34, Rath- 
bone-place. 


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198 


THE ART-UNION 


[Sept., 


PUBLISHED THIS DAY, 

FINDEN’S ROYAL GALLERY OF BRITISH ART. 

Part X. Containing: — 

THE LAKE OF NEMI. Painted by J. M. W. TURNER, R.A. ; Engraved by R. Wallis. 

RUSTIC HOSPITALITY. Painted by W. COLLINS, R.A. ; Engraved by J. Outrim. 

2 

THE LUCKY ESCAPE. Painted by W. F. WITHERINGTON, R.A. ; Engraved by S. Fisher. 

Engraved in the finest link manner, from the Original Pictures, and delivered in a handsome Portfolio. 
t nvnhv . _ . Price: Prints, 4 \ 5s.: India Proofs, j* 2 2s. ; Before Letters, ^3 3s. 

LONDON: Published for the Proprietor, by T. G. MARCH, No. 4, HANOVER-STRKET; sold also by F. G. Moon, 20, Threadneedle-street • 

and Ackermann and Co., Strand. 


Just published, in 4to., price £2 2s., in French boards, 
and on royal paper ; with proof impressions of the 
Plates, pnce j 6”4 4s. , half morocco, gilt tops, 
'TUSCOURSES delivered to the STUDENTS 
of the ROYAL ACADEMY, by Sir Joshua 
Reynolds. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnet, F.K.S., Author of 
*• Hints on Painting,” in 4to., price 10 s. 

James Car penter, Old Bond-street. 

Published in 4to., Price lOsTiiTFrench Boarda; 
and on Royal Paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, Price ±1 7s . 
A TREATISE ON PAINTING. In Four 
-TV Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
nerian, F,em ! ,h > Dutch, and English Schools: and 
WoodCuts. By JOHN BURNET, F.R.S 

1. On the EDUCATION of the EYE. Second Edi- 

tion. Price j £\ 5s. 

2. On COMPOSITION. Fifth Edition. Price 15s. 

in boards. 

3. On LIGHT and SHADE. Fifth Edition. Price 

18s. in boards. 

4. On COLOUR. Fourth Edition. Price £\ 11s. Cd. 

in boards. 

This work is particularly recommended to the Stu- 
dents in Art in the New Edition of the Encyclopaedia 
Bntanmca— See the article on Drawing. 

James Carpen ter, Bond-street. 

WiH be published, in one volume, 4to., 
ELECTIONS from the LETTERS and 
i? PAPERS of th e late JOHN CONSTA- 

BLE, ESQ., R.A., comprising Notes of his Lectures on 
the History of Landscape Painting. Arranged, and 
connected with a Memoir of his Life, by C. R. Leslie 
Esq., R..A. And interspersed with the twenty-two 
Mezzotinto Engravings by D. Lucas, from the Pictures 
of Mr. Constable, originally intended to form a work 
entitled “ English Landscape.” 

Asthenumber of copies printed will be limited to 
One Hundred and Fifty, the impressions of the Engrav- 
ings, which are on steel, will all be equal to proofs and 
the price of the work, to Subscribms. wm be Two 
Guineas and a Half in boards. wul ** ™ 

Sttbacrintiona wiil be received by Messrs. Paul and 
Dominic Colnagbi, Pall-mall East: Mr. J. Caroenter 
Old Bond-street ; Mr. D. T. White, S MaddSSJS 
Hanoyer-square: and Mr. Tiffin, 414, Strand; at whom 
establishments Specimen* of the Engravings may be 

„ rru S**™*/™* the Preface to the Work. 

‘ |»ves of painters are considered to effort but 
few materials calculated to engage the attention of the 
generality of readers. They are not often diversified 
fining incident; 9 yet tbe « adven- 
tures of the mind ’ of an artist cannot be without in- 
terwt, and the progress of so entirely original a mind 
as Constable a will oe found to differ from that of roost 
others, as greatly as a voyage of discovery differs from 
* through well-known seas. 

“ The materials placed in the hands of the editor 
were ample, end the difficulty of selection propor- 
rionally great. Hi* object is to trace, as far as it Van 
m M J. Constable's own words, a narrative of 
this necessarily includes some account 
of his domestic life ; tor in him the affections of the 
biended with the professional 
character, that it did not seem possible to give a true 
impression oft be painter without making the reader 
the friendL WiU * the U>ver » the husband, the father, and 

“ The subjects of tbe beantitol engravings tbst adorn 
JSf VST •JJfrom scenery connected with Mr. 

those of later 
hu m \ and there no other instance in 
*5® memoirs of so eminent a painter, almost 
entirely from bis own pen, hsve been illustrated bv the 
productions of his own pencil.” * 

PARLOUR'S PATENT DELINEATOR.— 


‘il! pubhcra lu prevent portable form, it the 
^“^P^ceof *s. It is universally allowed to be 
tofimtely superior to the Camera Lucida for the pur- 
pore of Drawing or Sketching from Nature.— Manu- 
wholesale and retail tor the Paten- 
rf e j ta ' Me ?"* REEVES and SONS, 150, 
Lbnpside, London ; and may be had of all Opticians, 
Stationers, or at Artiste’ Repositories. 


P ERSPECTIVE and DRAWING MODELS 
for TEACHING ELEMENTARY PRACTICAL 
PERSPECTIVE DRAWING, LIGHT and SHADE, 
&c. Acknowledged, generally, as the best possible in- 
troduction to Landscape Drawing upon certain princi- 
ples. Being composed of Geometrical and separate 
Pieces, are capable of many hundred variations. Illus- 
trated and complete in box, price jCI Is. 

C. SMITH’S ARTISTS’ REPOSITORY, 34, MARY- 
LE BON E-STREET, QUADRANT. 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have bo universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and his predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warn:, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and W r ater, 
163, HIGH IiOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
words “ BROWN’S PATENT” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 

COlOUI'B. 

DIMES AND CO. (late WARING and DIMES). 
ARTISTS’ COLOURMEN, 91, GREAT RUSSELL^ 
STREET, BLOOMSBURY. 

F DIMES begs to inform the Profession, 
• that the PARTNERSHIP subsisting between 
himself and Mr. George Waring has been DISSOLVED 
by mutual consent, and that in future the Business will 
be continued under the name of DIMES and CO. 

To those Gentlemen who have given tbeir patronage 
to the late firm, he begs to return his grateful acknow- 
ledgments, trusting to have their continued support, 
assuring them that all the articles he manufactures ana 
sells shall receive every attention to insure the best 
quality. Subjoined is enumerated a few Articles, to 
which attentiun is respectfully requested 
CANVASS WITH INDIA RUBBER GROUND.— 
The eligibility of this article having been thoroughly 
acknowledged, and it having received the patronage of 
the first artists in the kingdom, those gentlemen who 
desire that the labours of their pencils should be pre- 
served from the effects of time (too visible in some of 
the finest productions of the An), this Canvass is par- 
ticularly recommended, as it is never subject to crack 
or peel, and the surface is very agreeable to paint on. 

Patent Collapsible Metallic Tubes for Oil Colours.— 
The Patentee having thrown these Tubes open to the 
trade, D. and Co. can supply them at 6d. each colour; 
extra colours also in proportion ; also, tubes of Oils, 
Varnishes, M'Guelp, and Asphaltum. 

Zinc Tablets for Painting in Oil.— The surfaces of 
these Tablets are well adapted for highly-finished paint- 
ings, and superior to panels or milled boards. 

Water-Colours in Cakes or Moist, filled in mahogany 
or japanned boxes for sketching. 

Whatman’s Draw ing Paper, all sizes and thicknesses. 
J. 1). H., ditto. 

Tinted or Academy Paper, in great variety of tints 
for chalk or Dencil. 

Genuine Cumberland Lead Pencils, warranted of 
pure lead. 

Chalks and Crayons of all descriptions. 

French, Hog, and Sable Huir Brushes for Oil and 
Water-Colour Painting. 

Marble Slabs mounted, prepared for Miniature Paint- 
ing. 

Drawing Boards, Easels, T Squares, and every article 
tor Architectural Draughtsmen. 

Drawings and Paintings lent to copy. 


MILLER’S SILICA 
COLOURS. 

The daily increasing patronage bestowed on these 
Colours by Artists of the first eminence, while it is 
gratifying in the highest degree to the inventor, is, at 
the same time, an acknowledgment of the soundness of 
those principles upon which they are manufactured. 

It will be sufficient to repeat that, being composed of 
substances identical or similar to those used by tbe old 
masters (the brilliancy of whose works, after the lapst 
of centuries, is an incontestible proof of the superiority • 
of ancient colouring). The Silica Colours will evar 
retain their freshness, transparency, and gem-like 
lustre uninjured by atmospheric influence and unun- 
paired by time. 

Prepared for Oil and Water-Colour Painting of tko 
under-mentioned tints, viz : 

Pnle and Deep Red. 

I Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK’S GLASS MEDIUM. 

FOR OIL PAINTING. 

No. 1. For first and second painting. 

No. 2. For third painting, finishing, and glazing. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s Florentine OIL 
MILLER’S GLASS MEDIUM. 

FOR WATER-COLOUR PAINTING. 

No. 1. For first colouring. 

No. 2. For second colouring, glazing, and finishing. 
T. M. begs to call the attention of Artists to hit new 
Drawing-Paper, made of pure linen only, without under- 
going any chemical process. 

MILLER’S Aetists’ Colour Manufactoey, 
56 , Lonq -acee, London. 

THE PATENT F.A8EU 

W INSOR and NEWTON respectfWIy in- 
form the Profession and the Public, that this 
admirably-constructed Easel, the invention of M. Bom- 
hommk, of Paris, is manufactured by them with con- 
siderable improvements on the French model, and 
with tbe advantage of the best English workmanship. 

W. and N. are induced to submit this Easel to the 
Profession in England by the high encomiums and 
great patronage bestowed upon it in France, where the 
ingenious Inventor, not only obtained a prise for tha 
merits of his Easel at the National Exposition of Manu- 
factures and Inventions, but also received from the 
Government a liberal reward for the assistance he ren- 
dered to the Professors of Art 
Though possessing tbe advantages of the largest 
Easels, by standing firmly and bolding steadily print- 
ings of a very large size, M. Bonhohmb’s invention 
occupies no more space than the smallest of the Artists* 
Easels now in use, and certainly not so much as the 
greater number of them. 

Tbe position and height of a painting may be ad- 
justed with the utmost facility by a novel arrangement, 
which permits even unusually large works to be, when 
placed on this Easel, as much under control as ■« rr l V > r 
ones. The painting can also be sloped or thrown for- 
ward to auy angle moat favourable for the view, usd 
this forward inclination can be adjusted with Mm sM 
ecactness. 

It presents a neat and even elegant appearance, and 
is peculiarly fitted as well for all purposes of exhibition 
as for tbe studio; affording the utmost convenience for 
the advantageous display of large or small worts. 
The connoisseur who desires to exhibit bis gems of Art 
in a manner adapted to make the most favourable im- 

{ iression, obtains in the improvements here bnxwht 
orward an auxiliary hitherto much required. 

The Easel to be seen at WINSOR and NEWTON’S, 
Artiste and Colourmen to Her Mqjesty and His Rovnl 
Highness Prince Albert, 38, Rathbone-place, f^ww^ 


Digitized by 


■oogl 


184 ?.] 


THE ART- UNION. 


199 


THE ART-UNION. 



LONDON, SEPTEMBER 1, 1849. 


CONTENTS. 

1. IftfOftT OV Til COMMISSIONERS ON BINE 

ARTS 

PAPERS OP LATER DATE THAN THE RE- 
PO RT LETTER FROM THE RlOHT 
HONOURABLE THE SECRETARY OF 
STATE FOR THE HOME DEPARTMENT) 
COMMUNICATION FROM DR. REID ON 
THE PROBABLE EFFECTS OF 9 AS ON 


FRESCO-PAINTINGS 199 

9. VARIETIES: 

THE DULWICH GALLERY ) THE PA- 
TENT STUCCO PAINT CEMENT; A NEW 
EASEL; LEATHER IMITATIONS OF 

CARTING) WILKIE'S WORKS 819 

8. THE ART-UNION OF LONDON 9lt 

4. EIRMINOHAM SOCIETY OF ARTS 914 

6. SOCIETY OF ARTISTS 914 

6. THE ARTS IN CONTINENTAL STATES : 

ITALY) FLORENCE; FRANCE; GER- 
MANY . 918 

f. ART IN THE PROVINCES : 

DUBLIN 916 

§. REVIEW OF PUBLISHED WORES: 

SIR UVEDALE PRICE ON THE PICTU- 
RESQUE; HANDROOK FOR NORTHERN 


GERMANY ; HANDBOOK OF SWITEER- 
LAND, SAVOY, AND PIEDMONT*, LON- 
DON A8 IT IS 918 


REPORT OP THE COMMISSIONERS ON 
FINE ARTS. 

This important National document having been 
** presented to both Houses of Parliament, by 
command of her Majesty," has been printed, and 
is now before the public. It must be regarded, 
however, as but the first of 44 a Series, 1 ” for it 
deals only with the topic concerning Frescoes — a 
very minor, and, after all, a comparatively insig- 
nificant branch of the mighty subject upon which 
the nation has been at length summoned to 
“ legislate." Unhappily the period at which Par- 
liament has been called on to receive — if not to 
consider — the document, is unpropitious. In- 
terests still more weighty, and far more embar- 
rassing press upon the Government, the Peers, 
and the Commons ; consequently the news- 
papers have been utterly silent in regard to its 
reception ; we believe it was presented without 
eliciting a single remark from any noble peer or 
honourable commoner, having been 44 laid upon 
the table" in silence, if not with indifference. 
Still it is an augury of great good to come; it is, 
indeed, a huge step in advance for British Art, to 
have the attention of the legislature directed to it ; 
even if Hie kingdom paid for promoting it no 
more than the printer's bill, it would be a larger 
national grant than has been hitherto issued for 
the promotion of its welfare, and the extension of 
its benefits. But it is unquestionable that vast 
results will follow this first solemn recognition of 
the Arts in England by the State ; we bail this 
publication as the herald of a new order of things, 
as affording evidence that the Arts are no longer 
to be regarded by the nation as less worthy its 
eonrideration than a biH for building a jetty ; 
that the public money may be expended upon 
objects of higher import than park gates and 
stables; and that a new and powerful publie 
teacher, for whom employment has never yet 
been found in Great Britain, is at length to be 
retained by the Legislature. 


Our present purpose, however, is to devote as 
much space as we can spare to the “ facts" con- 
tained in this 44 Report leaving to future occa- 
sions the comments wc may consider either useful 
or necessary. 

Our readers are aware that the commission was 
Appointed by her Majesty, on the 22nd day of 
November, 1841 . It consisted of His Royal High- 
ness Prince Albert, Lord Lyndhurst (the Lord 
Chancellor), the Duke of Sutherland, the Marquis 
of Lansdowne, the Earl of Lincoln, the Earl of 
Shrewsbury, the Earl of Aberdeen, Lord John 
Russell, Lord Francis Egerton, Lord Palmerston, 
Lord Melbourne, Lord Ashburton, Lord Colbome, 
Shaw Lefevre, Sir Robert Peel, Sir James Gra- 
ham, Sir Robert Harry Inglis, and H. G. Knight, 
Benjamin Hawes, jun., Henry Hallam, Samuel 
Rogers, George Vivian, and Thomas Wyse, Esqs. ; 
and at the same time her Majesty Appointed 
Charles Lock Eastlake, Esq. to be secretary to the 
commission. 

In the introduction to the Report the Commis- 
sioners state as follows : — 

“ We, the Commissioners appointed by *your 
Majesty for the purpose of inquiring whether ad- 
vantage might not be taken of the rebuilding §f 
your Majesty’s Palace at Westminster, wherein 
your Majesty’s Parliament is wont to assemble, 
for the purpose of promoting and encouraging the 
Fine Arts in your Majesty’s United Kingdom, and 
in what manner an object of so much importance 
might be most effectually promoted, humbly report 
to your Majesty that we have taken into our con- 
sideration the matters referred to us, and have given 
due attention to the report of the Committee of the 
House of Commons, in 1841, on the Fine Arts, to- 
gether with the opinions of various other competent 
; persons on questions relating to the special objects 
for which the present Commission was appointed, 
and have consulted the Architect as to the maimer 
in which various kinds of internal decoration would 
affect his intended architectural arrangements ; and 
we beg now to report our opinion that it would be 
expedient that advantage should be taken of the 
rebuilding of the Houses of Parliament for the pur- 
pose of promoting and encouraging the Fine Arts 
in the United Kingdom. 

44 Having thus come to an opinion on the first 
point to which our inquiry was directed, we have, 
in conformity with the instructions contained in 
our Commission, proceeded to consider in what 
manner the above-mentioned purpose could best be 
accomplished. With this view we have, in the first 

S lace, directed our attention to the question whether 
; would he expedient that Fresco-painting should 
be employed in the decoration of the new Houses 
of Parliament ; but we have not yet been able to 
satisfy ourselves that the art of Fresco-painting has 
hitherto been sufficiently cultivated in this country 
to justify us in at once recommending that it should 
be so employed. In order, however, to assist us 
in forming a judgment on this matter, we propose 
that artists should be invited to enter into a compe- 
tition in Cartoons, and we have prepared the draft 
of an announcement on the subject, offering pre- 
miums of public money, to which we request the 
sanction of your Majesty. 

44 In framing this announcement we have felt that 
although the competition which we at present wish 
to invite, has reference chiefly to Fresco-painting, 
yet if we were to confine our notice entirely to that 
method of painting an inference might be drawn 
therefrom that we intended to recommend its ex- 
clusive adoption for the decoration of the new 
buildings. We have, therefore, inserted in our an- 
nouncement paragraphs, intended to explain that 
the future attention of the Commission will be di- 
rected to the best mode of selecting for employment 
artists skilled in oil-painting and in sculpture, and 
that due consideration wul be given to other 
methods and departments of Art applicable to 
decoration generally.” 

This is in fact 44 the Report ;’’ it is signed by 
all the members except the Lords Ashburton and 
Shrewsbury, both of whom are abroad. 

It will be observed that— in reference to an 
advertisement inserted in the Art-Union, June 
1842 — the commissioners, although they have 
offered 44 premiums for cartoons," have done so 
only in order to 44 assist them in forming a judg- 
ment" whether 44 it is expedient that fresco- 


painting should be employed in decorating the 
new Houses of Parliament and it by no means 
follows that their decision will be favourable to 
this branch of Art. We are inclined to think 
that it will be against the introduction of 44 the 
novelty." Many and strong arguments have 
been adduced on both sides ; but the feeling in 
favour of frescoes has certainly not been increased 
by the discussion. 

There is one consideration that cannot fail to 
have great weight with the commission, and one 
which at present cannot enter into considers 
tion of the question; it is this — our leading 
British artists will not compete; the prizes, 
therefore, will of necessity be distributed among 
comparatively inferior professors; and as the 
frescoes, if to be done at all, should, we think, be 
selected from the examples of artists who will have 
competed, it follows, as matter of course, that our . 
eminence in this department of the Arts cannot be 
sustained as it may be sustained in others. Of 
this fact her Majesty’s commissioners arc not, we 
believe, aware ; for they seem to consider it 44 ex- 
pedient that fresco-painting should be employed 
in the decoration of the new Houses of Parlia- 
ment*’ — if we may judge from the space occupied 
in their report in treating the several branches of 
the subject ; for considerably more than half the 
printed volume is filled with matter concerning 
it — beginning with the 44 Statements of Corne- 
lius," and continuing with 44 Various Communica- 
tions on Fresco-painting," and a treatise on 44 Me- 
thods of Fresco-painting described by Writers on 
Art ;" terminating with a description of 44 Lima 
fit for Fresco-painting," a 44 communication" 
from Dr. Reid (the distinguished chemist) 44 on the 
same subject," and another 44 communication" 
from him 44 on the Probable Effects of Gas on 
Fresco-painting." 

Whether our 44 leading artists" are or are not 
justified in withdrawing from the contest for 
honourable and profitable employment, we do 
not now propose to inquire ; but we know that 
the majority of those who have been promoted to 
44 high places ” by the suffrages of the Profession 
and the public voice, do not mean to submit 
cartoons as candidates either for prizes or for 
occupation in the way contemplated. We regret 
this ; because we think it only just, wise, and 
right that men of distinction should have replied 
to the first call which the nation has made upon 
genius in the Arts. To this topic it will be our 
duty to revert. 

But as we have said, our space will, this month, 
be better filled by transfeiTing the Report to 
our columns, than by any reasonings or specu- 
lations of our own upon the subject. We 
shall have — and so will our correspondents— 
abundant opportunities for criticism. In print- 
ing the whole of this important document, we 
shall necessarily sacrifice much of variety. It is, 
however, one that we cannot feel justified in 
abridging ; for every port of it contains valuable 
information to the profession generally, and mors 
especially to those who design to study fresco- 
painting. The whole of the 44 Introduction " (for 
such it properly is) bears the signature of Mr. 
Eastlake. 

Our readers will perceive that his own views— 
and they will no doubt greatly influence those of 
the commissioners — are in favour of the intro* 
duction of frescoes. They will of course be suffi- 
ciently criticised and canvassed; but with that 
respect which his great acquirements, high cha- 
racter, and undoubted genius, entitle him to 
receive. 

THE GENERAL OBJECT OF THE COMMISSION 
CONSIDERED IN RELATION TO THE 8TATS 
AND PROSPECT8 OF THE ENGLISH SCHOOL OF 
PAINTING. 

As the co mmi ssion is understood to take up the 

5 resent inquiry where the Committee on the Finq 
Tts, appointed by the House of Commons in j 
1841, left it, it will be proper, by way of introduc- 
tion, to recapitulate the leading opinions expresse4 
in the report of that committee. 

It was there observed that 44 the chief object 


Digitized by V. j 0 o< e 


THE ART-UNION. 


[Sept., 


aimed at by the appointment of the committee/’ 
was “ the encouragement of the Fine Arts of this 
country that it was “ requisite that a plan 
should be determined upon, and that as soon as 
practicable, in order that the architect and the 
artist or artists to be employed, may work not only 
in conjunction with, but in aid of each other ; that 
thus the abilities of both would be exerted for the 
decoration of so eminently national a building ; 
and at the same time encouragement beyond the 
means of private patronage would be afforded, not 
only to the higher walks, but to all branches of 
Art.” The report proceeds to recommend the 
employment of fresco-painting in the decoration of 
the new Houses of Parliament, suggesting, how- 
ever, the necessity of further information and in- 
quiry. 

The appointment of the commission has fully 
secured the latter, and the general objects of the 
committee have been recognised in the notice re- 
specting a competition already prepared for publi- 
cation under the sanction of her Majesty’s com- 
missioners. 

It is here proposed to consider the question of 
the decoration or the Houses of Parliament with 
reference to the state and prospects of the English 
school of painting. And first it is to be observed 
that, although “ all branches of Art” may be 
entitled to the consideration of the commission, 
historical painting is not only generally fittest for 
decoration on a large scale, but is precisely the 
class of painting which, more than any other, re- 
quires “ encouragement beyond the means of pri- 
vate patronage.” The want of such encourage- 
ment has long been regretted, not by professors 
only, but by all who have turned their attention to 
the state of painting in England ; a proof that the 
promotion of historic art is an object of interest 
with a considerable portion of the public. 

The inference is not unimportant ; for an already 
existing estimation of the higher aims of Art, is in 
itself an earnest of their success. The desire which 
has been manifested for historical painting would 
not be entitled to attention if it could be traced to 
a passing influence, or to a disposition to imitate 
what had been achieved in other countries, since 
this could only lead to the adoption of superficial 
qualities, betraying, sooner or later, the absence of 
a vital impulse. Such attempts would be the more 
likely to be ineffectual, if a different style, how- 
ever humble, really corresponding with the national 
taste, were at the same time cultivated with marked 
success. The history of Art is not wanting in 
examples of schools and of periods, with regard to 
which it might be a question whether a sudden de- 
mand for historical painting would have been a boon 
to the artists or to the lovers of Art. The Dutch 
school of the seventeenth century might be adduced 
as a case in point. 

It may here be remarked that, even where the 
direction of national taste is favourable to the cul- 
tivation of historical painting, the peculiar diffi- 
culties of that branch of Art must sometimes place 
it in unfavourable contrast with inferior depart- 
ments more commonly practised, and in which a 
relative perfection is more commonly attained. 
The disadvantages resulting from this contrast are 
peculiar to modern times : at the revival of Art 
and during its progress to excellence the efforts in 
the grander style were not in danger of being un- 
dervalued, or stimulated to injudicious rivalry, by 
such a comparison. No school exclusively devoted 
to indiscriminate imitation then existed. The pre- 
sent influence of such schools and examples may 
partly account for and excuse the occasional fasti- 
diousness of modern amateurs with regard to efforts 
in historical painting, and may render a consistency 
of style more difficult for the historical artist. 

These admissions with regard to the present 
difficulties of the highest style of Art cannot, how- 
ever, render it necessary to vindicate its abstract 
claims ; the sole question for consideration now is, 
whether in this country, and at this time, there 
exist grounds for hoping that historical painting 
could be cultivated with success, and whether it 
would awaken a more general interest, if it were 
duly encouraged by the State. 

TTiat the actual estimation of this department of 
Art has direct reference to the moral wants of our 
own nation, is further proved by the repeated exer- 
tions of individuals in proposing plans for the pro- 
motion of the higher style of Art, by the generous 
encouragement occasionally extended to its votaries 
by others, but above all by the efforts of the artists 


themselves. For it must always be borne in mind 
that the aims of the artists are not to be considered 
as accidental predilections apart from the public 
feeling, but as representing a portion of that feeling 
However variously modified by other influences, 
the formative arts must always express the man- 
ners, the general taste, and, to a certain extent, 
the intellectual habits of the nation in which they 
are cultivated ; the chief conditions with regard to 
the last being, that the objects of mental interest 
should be analogous to the pursuits of taste, and at 
the same time familiar to that portion of the public 
to which the Arts are addressed. 

But to whatever extent the mind or manners of 
a nation may be communicable to its productions 
in Art, the result is to be looked for rather in 
general tendencies than in degrees of technical ex- 
cellence, and is especially to be sought where con- 
trolling influences, even of a salutary kind, are 
least likely to interfere with the free expression of 
national taste. Thus, the indications in question 
are not so evident in religious subjects, in which a 
common education, and long consecrated themes, 
have tended to elevate to a common standard the 
taste of the civilized world ; nor are they so dis- 
tinctly manifested even in certain subjects of local 
interest, such as the acts of illustrious individuals, 
and the commemoration of national events ; themes 
which patriotism has everywhere supplied, and 
which presuppose a uniformly ennobling influence. 
The proper and peculiar tendency, the physiog- 
nomy, so to speak, of national taste, is to be de- 
tected in more spontaneous aims ; in the direction 
which the arts have taken, when their course has 
been unrestrained, save by the ordinary influence 
of the intellectual and moral habits of society. 

It might be interesting to trace the connexion 
between the Arts and national culture and cha- 
racter under such conditions ; but the general 
truth of the view above taken has been so often 
dwelt on by the historians of Art, that it must be 
unnecessary to adduce examples of such a con- 
nexion where circumstances must render it more 
than commonly direct. If it were proposed to 
compare the English school of painting (as regards 
its general tenaency) with the schools of other 
countries, it would, however, be just to consider 
the direction of taste in the latter when art has not 
been employed in the service of religion and pa- 
triotism, for it is under these circumstances that 
painting has been cultivated in England. The re- 
sult of such a comparison would tend to vindicate 
the aim and character of the English school. 

But the inference from the above statement, 
which is more immediately applicable to the pre- 
sent question, is, that the efforts of the English 
artists in the higher branches of their profession 
are to be regarded as an evidence of the tendency 
of taste in a considerable portion of the public, and 
it remains to observe that both the efforts and the 
taste may be almost irrespective of the common 
relation between demand and supply, since the due 
encouragement of the higher branches of Art may 
be 44 beyond the means of private patronage.” 
This apparent contradiction of a moral demand for 
a particular class of art, existing independently, in 
a great measure, of its usual consequences— the 
actual employment of those who, with due en- 
couragement, might respond to it, is explained by 
the fact that the decoration of public buildings, 
with a view to moral or religious purposes, has 
always been necessary for the formation of a school 
of historical painting. The history of Art shows 
that whatever may be the extent of general educa- 
tion, the service of religion or the protection of the 
state is indispensable, at the outset at least, for the 
full practical development of the highest style of 
painting. Thus formed and thus exercised historic 
Art lives and is progressive, but with the aid, how- 
ever libera], of private patronage alone, either its 
aim becomes lowered, or its worthier efforts are 
not sufficiently numerous to re-act on the general 
taste. 

To many it may appear unnecessary to assert the 
capacity of the painters or of the public for the 
cultivation or appreciation of elevated Art ; but it 
must be remembered that while the great stimulus 
and support of public employment is wanting, the 
exertions of the artists are gradually compelled 
into o(feer directions ; and some observers, looking 
at this result alone, may draw erroneous inferences 
from it, — may sometimes hastily conclude that 

E ictures of familiar subjects, which have been of 
ite years predominant and deservedly attractive, 


represent the universal and unalterable taste of the 
nation* 

Such observers might, howfevef, at the same time 
remark that the productions in question oftener 
approach the dignity of history than the vulgarity 
of the lower order of subjects, and either by the 
choice of incidents, or by their treatment, still 
attest the character of the national taste. The 
evidence of an intellectual aim in familiar subjects, 
may be therefore considered as an additional proof 
that the artists of England want only the opportu- 
nities which those of other nations have epjoyed, 
in order to distinguish themselves in the. worthiest 
i undertakings. But to place this question in its 
proper light it will be necessary to take into con- 
sideration the peculiar circumstances under which 
the English school has been formed. 

' The mat impediments to the cultivation of the 
higher branches of Art have been already adverted 
to. With few exceptions, painting in England 
has not been admitted into churches (a subject 
which it is not intended here to discuss), nor has 
it been employed to any extent in the embellish- 
ment of public buildings. Other difficulties have 
existed, owing to various accidental circumstances. 

The perfection which the great Italian masters 
arrived at, was the result, it is true, of slow ex- 
perience, but happily for them the more ornamen- 
tal and fascinating qualities of the Art were attained 
last. With the English school it was the reverse. 
Its rise in the last century was remarkable for 
sudden excellence in colouring and chiaro-scuro, 
an excellence so great, as to eclipse contemporary 
efforts in a severer style, while it gave a bios to the 
school. The peculiar union of what are called the 
ornamental part of the Art, with those essential 
to history, which has prevailed in England, not 
unattended with some sacrifice of more solid qua- 
lities, has been generally attributed to this in- 
fluence. 

This mixed character became more decided in 
consequence of the circumstances under which the 
school was developed ; namely, the subsequent in- 
troduction and prevalence of a style suited to «m*H 
dimensions. Most of the distinguished English 
artists in the time of Reynolds, painted the size of 
life. The experiment, as regards private patro- 
nage, seems to have been then fairly made, and the 
gradual change to reduced dimensions, appears to 
have been the consequence of the insufficient de- 
mand for large works, arising in a great degree 
from the limited size of English dwelling-houses. 

Hence the execution of small historical pictures, 
a practice recommended by the occasional exam- 
ple of the best masters of every school ; but where 
the subject is dignified, smallness of dimensions 
cannot consistently be accompanied by smallness 
of treatment. Minute imitation is not found in 
Correggio’s Gethsemane, nor in Raphael’s 4 Vision 
of Ezekiel,’ diminutive as they are. The breadth 
of manner which is indispensable in such elevated 
themes is not, however, essential in familiar sub- 
jects, and hence, when specimens of both styles, 
similar in size, but widely different in their tech- 
nical conditions, are placed together, the impres- 
sion produced by so marked a contrast is unsatis- 
factory, without reference to the difference of 
subject. 

Thus, partly through the influence of the 44 orna- 
mental” character of the school, and partly to 
prevent this abrupt contrast of treatment in pic- 
tures which are to hang together in galleries (for 
under such circumstances, the more abstract style 
appears to disadvantage), the kind of historic Art 
chiefly followed, is that which admits picturesque 
materials, thus combining the attractions of fami- 
liar subjects with the dignity of the historic style. 
Under such influences has been formed an inte- 
resting portion of the more modern English school, 
distinguished, on the one hand from the Dutch, 
and on the other, from the small works cf the 
Italian masters, embracing a great variety of sub- 
jects, sometimes scarcely removed from the fami- 
liar, sometimes approaching the grandest aim. 

The circumstances that nave led to the general 
adoption of a small size are thus, it appears, acci- 
dental, and the actual practice of our painters can- 
not be adduced as a proof of their original choice 
of such conditions. The frequent efforts on their 
part, amid various difficulties, to recommend larger 
dimensions, are a sufficient proof of the real incli- 
nations of the artists. These efforts have not been 
confined to the ardour of youthfal inexperience ; 
many of our best artists have returned to, or per- j 


Digitized by Lr.ooQie 


1842 .] 


THE ART-UNION 


201 


severed in such undertakings to the last; with 
some, the ambition to encounter the difficulties of 
this style was first kindled at an advanced period 
of their career. In the last century all the prin- 
cipal English artists, notwithstanding Hogarth’s 
success in small pictures, were in the habit, as 
already observed, of painting the size of life— Rey- 
nolds (considered as an historical painter), West, 
Barry, Fuseli, Copley, Northcote, Opie, and 
others. 

It cannot, therefore, be admitted that the artists 
of England are, by their own choice, confined to 
small dimensions ; but the questions now are, — 

Whether it is possible to afford more favourable 
opportunities than those which have hitherto ex- 
isted for the adequate display of historic Art ? 

Whether . such opportunities will be sufficienly 
numerous? for if not, the school, after attaining the 
excellence which honourable employment will as- 
suredly call forth, may again languish ; and lastly, 

Whether such encouragement will be in danger 
of diverting the taste and practice of some artists 
from that domestic Art which is now so success- 
fully cultivated ? 

# The first of these questions, while it is imme- 
diately connected with the special object of the 
commission, involves the consideration of the ab- 
stract relation of dimensions to styles of Art. 
This subject has been often discussed on grounds 
independent of technical requisites, and as very 
different opinions have been the result, it may here 
be allowable, without undervaluing the conclusions 
derived from other considerations, to refer to the 
mere physical or external conditions which must 
necessarily affect the question. 

In comparing the treatment of cabinet pictures 
with that of works of the largest size— for example, 
where the figures are colossal — it may be observed 
that the small picture, besides being executed with 
delicacy, generally exhibits a certain fulness of de- 
tail, while the large work is not only less elaborate, 
but is composed of fewer parts. Even assuming 
the same subject, and one requiring a variety of 
minute accessories, to be represented on a colossal 
and on a small scale, it may be safely affirmed that 
the degree of detail which would be admissible in 
the small picture would be objectionable in the 
larger. In a grander and more ideal subject, where 
such detail would be inadmissible under any cir- 
cumstances, the comparison could be less fairly 
made, but a similar influence would be more or 
less apparent. Thus, assuming other conditions to 
be common, the greater space never allows the 
introduction of more detail than the smaller, but 
generally, if not always, requires less. 

Without entering into the examination of this 
question, as connected with the laws of vision, it 
may be remarked that, although the indistinctness 
arising from distance may be counteracted, as re- 
gards the most important qualities in Art, by 
Increased dimensions, and by appropriate style and 
treatment, it must still tend to exclude certain re- 
finements of imitation which are appreciable in 
pictures requiring to be seen near, — refinements 
capable of conferring an interest on details that 
may be unimportant in themselves. The inference 
is at once applicable to the question proposed. The 
familiar subject, as fullest of accidental circum- 
stance, must be best displayed in dimensions fitted 


for near inspection, ana, in an advanced state of 
Art as regards imitative excellence, must be a con- 
sequence of the habitual adoption of such dimen- 
sions. On the other hand, tne larger the figures 
in a picture, the greater the distance at which the 
work must be seen ; and as the omission of detail 
is a consequence of that reduced scale of gradation 
which distance supposes,— as the absence of minute 
particulars is felt to be the attribute of distance 
without reference to the size of objects, so the ac- 
cessories in the larger work of Art require to be 
few and important. Thus, again increased dimen- 
sions, by involving the suppression of detail, sug- 
gests subjects of corresponding dignity. 

Such appears to be tne relation of dimensions to 
style and subject, considered with reference to 
tedinical results : as regards the question of taste, 
it may be observed that the involuntary conclusions 
derived from the influence of association agree with 
the practice of Art. The analogy between grandeur 
and the absence of detail, and between minute cir- 
cumstance and familiar incidents, is sufficiently 
apparent. With these analogies, the impressions 
produced by magnitude and its attributes, and by 
the opposite qualities, respectively correspond. i 


The general relation thus defined has often been 
reversed in works of Art, but not with equally 
good results, for it may be remarked that large 
works, when elaborate in detail, and full of acci- 
dental circumstance, have the unpleasing effect of 


magnified cabinet pictures ; on the other hand, di- 
minutive historical works, when treated with that 
breadth which belongs to the grandest style, must 
give the impression of large works diminished. The 
last-mentioned inconsistency can hardly be objected 
to; grandeur of conception and treatment must 
unquestionably be acceptable in any form, but 
nevertheless, the abstract breadth of imitation 
which is indispensable in elevated subjects is, under 
the circumstances supposed, a kind of contradic- 
tion, inasmuch as tne vague generalization of a 
distant or ideal effect is submitted to close inspec- 
tion, and can only be so viewed. The small pic- 
tures by Raphael and Correggio, before referred to, 
are of this description ; but the instances of such 
subjects being treated on so minute a scale are not 
frequent. 

It is unnecessary to enumerate other exceptions, 
or to refer to larger works in which a just adapta- 
tion of style may have tended to obviate an incon- 
gruity between subject and dimensions. It may 
be sufficient to dwell on those plainer principles 
which result from the technical and external con- 
ditions that have been considered, but which may 
afford a criterion with regard to some of the more 
arbitrary conventions of works of Art. 

It may be added, that even the extreme conclu- 
sions which might be deduced from the conditions 
referred to, are strictly conformable to the authority 
of the grandest examples of Art. The loftier aim 
of imitation thus defined, may seldom be literally 
compatible with the usual range of subjects ; but 
in this instance again, the criterion, as such, may 
be admissible. Thus, assuming the representation 
to be dilated to its toll measure, details of cos- 
tume, illusion, and even the more delicate varieties 
of colour are no longer fitted for the dimensions. 
But in proportion as the subordinate excellences 
of imitation are excluded by the nature of the ex- 
isting technical conditions, the display of the nobler 
Qualities still attainable becomes more necessary. 
As the resources of Art become circumscribed, the 
artist’s aim becomes elevated. In the highest style 
of painting, as in sculpture, the representation 
of inanimate substances ceases to be satisfactory 
when they no longer directly assist impressions of 
beauty or grandeur : and the styles of Art in which 
the living form can be least dispensed with, are 
precisely those which, by the abstract character of 
their imitation, render it less objectionable. 

The foregoing considerations may warrant the 
conclusion that the grandest style of Art is best 
displayed in large dimensions. It will also follow 
that tne treatment of subjects fitted for such di- 
mensions, must tend to ennoble the style and taste 
of the artist. 

Works of such magnitude cannot be often in 
demand for ordinary dwelling-houses ; hence, while 
pictures are excluded from churches, the places 
m which it is possible and desirable to employ the 
higher branches of Art will be the national' and 
municipal public buildings ; all localities, in a word, 
where painting can be displayed to the public in its 
highest and most didactic form. 

But will such opportunities and means of en- 
couragement be sufficiently numerous and endur- 
ing ? The answer to this important question can 
be best anticipated by the exertions of the artists ; 
it may be reasonably expected that the employment 
of national talent in a great national building, will 
serve as an example throughout the country, and 
that the style of Art which will be thus recom- 
mended and promoted, may be even adopted in fit 
situations for the decoration of the mansions and 
villas of affluent individuals. 

In answer to the third question proposed, namely, 
whether the encouragement of nistorical painting 
may tend to alter the direction of the taste ana 
practice of those artists pursuing the hitherto more 
thriving and popular branch of Art; it may be 
allowable to observe that even such a danger would 
be no just argument against the employment of 
deserving candidates for fame in another depart- 
ment. But the long neglected interests of the 
historical painters cah, it is believed, be promoted 
without interfering in any degree with the pros- 
perity of the class in question. That school is 
already formed ; and the cause to which it chiefly 
owed its rise, — the possibility of its productions 


being placed in apartments of ordinary dimensions, 
must insure its duration ; added to which, the 
societies for the encouragement of Art by subscrip- 
tion and lottery, have solely in view the acquisition 
and distribution of comparatively small pictures. 
The object now is to find opportunities as fit (they 
cannot possibly be as numerous) for the develop- 
ment and display of historical painting on a large 
scale. Whatever may be the influence of the pro- 
posed encouragement on the rising generation of 
artists, it is at all events desirable that inclination 
should be free ; that the inheritors of that enthu- 
siasm, which prompted tye best English artists of 
the last century to offer to decorate St. Paul’s 
cathedral and other buildings at their own expense, 
may no longer ask in vain even for space. 

The general tendency of the national talent has 
been hitherto considered, in a great measure, apart 
from the question of the actual qualification of the 
artists. It may be sufficient, in reference to this 
part of the subject, to acknowledge that the diffi- 
culties of the style of Art, which is now proposed, 
may be peculiarly great in England, owing to the 
circumstances before adverted to, and that no com- 
mon energy may be necessary to surmount such 
difficulties. But while the artists are expected to 
show themselves worthy of entering on that career 
which is now opening to them, it is but just to re- 
mind the enlightened judges of Art who refer to 
the great works of other countries, that those 
works were the result of repeated essays, and that 
considerable time was necessary for the formation 
of the taste and practice of those who produced 
them. In justice to the artists, the trial should be 
as fairly made in England. 

On ordinary occasions the imitative arts may 
be considered as’adventitious embellishments ; but 
in proposing to adorn an important national edifice, 
where it is essential that a characteristic unity of 
design should be maintained throughout, painting 
should appear as the auxiliary of architecture. It 
was thus that it was employed in the best ages of 
Greece and Italy, and it was thus that its highest 
development was insured. In the present instance 
the chief decorations in painting will be required 
to be on an extensive scale. The difficulty of keep- 
ing large masses of canvas well stretched during 
all changes of weather, has been considered an 
objection to the employment of that material under 
such circumstances. The evil here alluded to may 
be seen in its worst form, in the ceiling of the 
chapel at Whitehall, owing to the surface of the 
paintings being highly varnished. The fittest 
kinds of painting, for the decoration of architec- 
ture, are tnose winch can be applied, when required, 
to every surface, curved as well as plain ; and for 
such general decoration, fresco — recommended 
as it is by the example of the great masters — 
appears to be better adapted than any other 
method. 

The objections to the employment of fresco in 
London, on account of the smoke, have not been 
overlooked, and various information respecting 
the mode of cleaning such paintings has been col- 
lected. The opinions of Director Cornelius on the 
subject will be found in his statements (Appendix 
No. 3). Professor Hess, on being consulted on 
this point,* remarked that “ if frescos were 
painted in the open air in London, the rain would 
De the best picture cleaner.” The observation is 
so far important, that it assumes the possibility of 
washing frescoes freely without injury to the colours. 
Mr. Thomas Barker, of Bath, who painted a fresco 
of considerable extent in that city some years 
since, writes :+ — M To clean fresco from smoke, 
I know of no mode so simple or efficacious as 
washing the surface with pure water, using a soft 
sponge in the operation.” Mr. Barker elsewhere 
ooserves : — '* It is now seventeen years since the 
completion of that work ;” (the fresco he painted) 
“ if any change has taken place, it is in the 
colouring having become much more effective than 
when first completed.” Mr. Andrew Wilson writes 
from Genoa 4 (bat frescoes there are cleaned with 
vinegar, so as to look as fresh as when first 
painted. Carlo Maratti used wine in washing the 
Vatican frescoes, and succeeded in restoring the 
principal paintings, notwithstanding the injuries 
and neglect of nearly two centuries. § There 
seems, therefore, to be no reasonable ground of 

* By Mr. William Thomas. 

t February 10, 1843. % February 28, 1842. 

§ Memoir in the second edition of Bellori’s Life of 
C. Maratti. 



202 


THE ART-UNION 


[S»rr., 


apprehension on this account. With regard to the 
enect of the English climate, no very accurate 
conclusions can be arrived at, as the examples of 
older frescoes in this country are not numerous. 
About the middle of the last century some frescoes 
were executed at West Wycombe Park, by Gui- 
seppe Borgnis, a Milanese, under the auspices of 
Francis Lord Le Despenser. The paintings are 
exposed to the open air, yet those in the east 
portico and south colonnade and loggio, are in 
general remarkably well preserved. The paintings 
in the 'west portico, from whatever cause, have 
suffered considerably . The east portico is an 
agreeable example of the union of fresco-painting 
with architecture ; in the soffit is a copy of Guido’s 
4 Aurora.’ Some ceilings in the intenor appear to 
be painted in oil. 

As long as any doubt is expressed as to the 
mode in which the antique paintings which have 
been preserved were executed,* it may not be 
allowable to quote those works as examples of the 
durability of fresco-painting in particular ; but 
they afford strong evidence of the durability of 
painting on well-prepared walls. Sufficient ex- 
amples, however, of frescoes, properly so called, 
that have stood for many centuries, exist in Italy. 
Among them may be mentioned : at Padua the 
works of Avanzo, though injured in lately remov- 
ing the whitewash with which thev were covered ; 
in Florence those of Benozzo Gozioli in the 
Palazzo Ricardi, of Angelico da Fiesole, Masaccio, 
and others ; in Perugia those of Perugino ; in 
Assisi those of Giotto, (the vows of St. Francis) ; t 
these works belong to tne fourteenth and fifteenth 
centuries. In S. Giacomo, Spello, Orvieto, Pisa, 
Siena, and Rome, various examples by the earlier 
masters are in good preservation, when unhurt by 
violence. The works of Luini, at Saronno ana 
Lugano, may be mentioned as remarkable instances 
of frescoes in perfect preservation after three cen- 
turies. X It has been supposed that the sea air at 
Venice may have affected the few frescoes painted 
in that city ; but in Genoa, where the influence of 
the sea air is more immediate and the effect of 
storms more severely felt, frescoes have lasted on 
the external walls of houses for some centuries. § 

The practice of fresco-painting, as far as de- 
scription can explain it, is sufficiently detailed in 
the papers of the Appendix which follow, but it 
may be desirable briefly to examine its general 
qualities as a means of representation. 

Its difficulties are not to be dissembled ; they 
are, however, not the difficulties of the mere 
method, but arise from the necessity of an especial 
attention to those qualities which rank highest in 
art ; qualities which, when not absolutely indis- 
pensable, are too often neglected. Defects in com- 
position, form, action, expression, and the treat- 
ment of drapery, may be redeemed in an oil-paint- 
ing by various merits ; not so in a fresco. A style 
of art thus circumscribed cannot, therefore, be 
recommended for exclusive adoption ; but if studied 
together with oil-painting, its influence can hardly 
fail to be beneficial. The great Italian masters, as 
is well known, practised both methods; hence 
their employment, frequent as it was, in fresco, led 
to no imperfection, but on the contrary, may be 
considered to have been mainly conducive to the 
vigorous character of Italian design. 

The immediate and necessary connexion of this 
mode of painting with the highest aims of art fits 
it to embody those inventions which belong essen- 
tially to the domain of thought. As a mode of 
decoration for public buildings it has peculiar re- 
commendations : no style of painting is more 
clear, distinct, and effective at a distance. This is 

{ tartly to be referred to the thorough execution, 
ounaed on the intelligence of form, which it re- 
quires, and to the brilliancy of the material em- 

* According to Sir Humphrey Davy’s experiments, 
the antique painting called the * Aldobrandini Marriage,' 
was unquestionably executed in fresco ; no colours were 
found in it but such as stand in fresco, and the white 
pigment was lime. (Compare Appendix, No. 5.) Other 
paintings appear, from his description of the materials, 
to have oeen executed in tempera, though he calls them 
fresco; but no wax (used in the encaustic method) was 
found in any of the specimens examined by this great 
chemist in Rome. (See The Philosophical Transactions, 
1815, p. 97). In Pompeii, specimens of encaustic are 
said to be frequent. 

t Letter from Professor Ernst Deger of Dilsseldorf, 
4th March, 1843. 

± Communication from Mr. Ludwig Gruner. 

§ Letter from Mr. Andrew Wilson, Genoa, 38th Fe- 
bruary , 1842. 


ployed for the lights. But there are other causes 
of this distinctness of effect more directly connected 
with general design. With dimensions and dis- 
tance, and a treatment that depends rather on 
power of light than on intensity or quantity of 
shade for its effect, a style arises which develops 
the elements of composition in some measure dis- 
tinct from chiaro-scuro. The influence of these 
conditions is apparent in the best Italian frescoes, 
which, at the same time that they exhibit the hap- 
piest adaptation of perspective and foreshorten- 
ing, and often the most skilful management of 
gradations of light, are remarkable for impressive 
clearness of arrangement. 

This style of composition is still more apparent 
in the celebrated cartoons of Raphael, in which 
it is carried to the most emphatic simplicity, still 
combining the picturesque principle of depth, as 
opposed to the flatness of basso-relievo. These 
works were evidently treated with reference to the 
material in which they were to be ultimately ex- 
ecuted, namely, tapekry ; in that material, as 
wrought in Raphael's time, powerful effects of 
light and shade were unattainable — a defect 
attempted to be remedied by heightening the re- 
lief or some of the objects with gold. The figures 
are, however, colossal in size, as the works were to 
be seen at a considerable distance, and the great 
artist attained distinctness by means of composi- 
tion almost alone. The principal figures are ren- 
dered important chiefly by the place they occupy, 
and the story is comprehended at the first glance ; 
thus a skilful arrangement supplies the absence of 
those modes of relief which mignt be resorted to 
in oil-painting; indeed the effect of light and 
shade, making every allowance for the injuries of 
time, is far weaker than that attainable in fresco. 

But assuming this general style of composition 
to be applicable to fresco, it cannot be objected 
that, owing to its peculiar fitness in the case re- 
ferred to, it would in any degree disqualify the 
artist for the practice of composition in oil-paint- 
ing ; for the cartoons of Raphael have always been 
considered to be among the most perfect examples 
of arrangement and of masterly clearness in telling 
a story, without any reference to the particular 
conditions which may have influenced the painter. 

In like manner as regards colouring, the prac- 
tice of fresco has never been found to have any un- 
favourable influence on that of oil-painting, but 
rather the reverse. Without referring to particular 
works as instances of the perfection in both 
methods, which the Italian masters of different 
schools — Fraucia and Raphael, Andrea del Sarto 
and Guido, Guercino and Pordenone* attained, it 
may be sufficient to mention the example of Cor- 
reggio — in the opinion of Reynolds + the most 
consummate of painters as regards colour and ex- 
ecution. This great artist painted more in fresco 
than in oil, looking to the quantity of surface 
j covered. In his case it is evident that even the 


t even the 


comparative absence of depth and mass of shade in 
fresco had no unfavourable influence on his prac- 
tice as an oil-painter, while the clearness of his 
colouring in his oil-paintings may not unreasonably 
be attributed in some degree to his experience in 
the other method. % Ana here it may be allowable 
to express the opinion that the great skill of the 
English artists in water colours might be the 
means of introducing new technical merits and a 
new perfection in tne practice of colouring in 
fresco, which might again directly benefit the 
school of oil-painters. 

The foregoing are among the considerations 
which it is considered might induce her Majesty’s 
commissioners to recommend the promotion and 
encouragement of historical nainting in connexion 
with the re buildi ng of th e Houses of Parliament, 

* For a description of Pordenone's principal fresco, 

I the cupola of S. Rocco at Venice, see Boschini, La 
Carta del Navegar Pittoresco, Yen. 1860, pp. 90—94. 

t Notes on Du Fresnoy, Note LV. I 

i The works of Correggio in fresco, are here referred 
to merely to show that tne practice or that method has 
no disadvantageous influence on the practice of oil- 
painting; but the cupolas of Correggio at Parma, are 
by no means favourable examples of the durability of 
fresco. Their decay appears, however, to have been 
owing to the former dilapidated state of the roofs and 
the penetration of damp, as the lower figures are better 
preserved. The fresco in th^ tribune of S. Giovanni 
was destroyed in enlarging that part of the church ; 
part of the principal group, the Coronation of the 
Virgin, was fortunately saved, and was inserted In the 
wall or the library at Parma. It is in perfect preser- 
vation, and is one of the noblest works of the master. 


while a hope may be here expressed that the ex- 
ample will be followed on other occasions. The 
employment of fresco, for a portion at least of thd 
Intended works might be proposed conditionally, 
lince it must necessarily depend on the evidence of 
inclination and qualification on the part of tbd 
artists, to work in that method. 

C. L. Eastlake, Secretary. 

The reader will ponder over this treatise ; H is 
the production of an artist and a scholar, and 
Will receive the respect even of those who may 
bold opinions opposed to the views of the aecom*- 
pllshed writer. 

We proceed to copy another valuable docu- 
ment, 44 The Substance of some Opinions 

EXPRESSED BY DIRECTOR CORNELIUS ON THE 

proposed Decoration of tRb Houses 6r 
Parliament.”* 

the situation. 

Cornelias, the distinguished artist who has exe- 
cuted so many works in fresco at Munich and else- 
where, inspected the plans for the new Houses of 
Parliament, as well as the site of the buildings, 
during his short stay in London in November 
1841. His attention was first directed to the ge- 
neral situation, with reference to works in fresco. 
He thinks the situation unobjectionable. He has 
no idea that the damp of the river can have any 
effect on fresco paintings in rooms elevated as those 
in question will be, above the actual level of the 
water. The effects of damp in the atmosphere are 
not apprehended by the German painters. Many 
failures that might have been hastily attributed to 
damp, were really owing, Cornelias observes, to 
the use of lime in too fresh a state. Of the experi- 
mental works painted at Munich in the open air, 
those only have faded which are known to have 
been done without due attention to the materials. 
Thus, a figure of Bavaria, painted by Kanlbach, 
which has faded considerably, is known to have 
been executed with lime that was too fresh. Simi- 
lar failures in less exposed situations have been 
traced to the same cause. The cupola of Val de 
Grace at Paris, painted in the 17th century by 
Mignard, faded soon after it was done, though suf- 
ficiently elevated above damp exhalations, because 
the lime used was too new. 

The damp which, in the opinion of Cornelius, is 
really prejudicial to fresco, is that which is occa- 
sioned by the use of unseasoned materials— new tim- 
ber, imperfectly burnt bricks, Sc c. The nitre whieh 
is so destructive to fresco, is that which he supposes 
to originate from the stones of the wall rather than 
from the mortar. Such causes of decay might exist 
in high and dry situations from want of care. But 
Cornelius lays the greatest stress on the necessity of 
using lime that has been long kept, since this 
comes in immediate contact with the colours, and 
is a colour itself. f When this eminent artist, in 
conjunction with others, painted the house of tbd 
Chevalier Bartholdy, in Rome, an old mason who 
had been employed under Mengs (a not unskilful 
fresco painter), directed their attention to this 
point, and it so happened that they were then sup- 
plied with lime which had been preserved twelve 
years. The works alluded to, though the first ex- 
ecuted by the modem German fresco-painter*, 
have stood perfectly well. 


Among other precautions it is desirable to let 
the building itself dry well before painting the 
walls : yet Cornelius painted in the Glyptothek at 
Munich, not long after it was finished, from a con- 
fidence in the soundness and dryness of the mate- 
rials. He, however, took the precaution to use 
water that had been boiled in moistening the sur- 
face and in thinning the lime. 

THE 8TTLB OF THE ARCHITECTURE. 

With respect to the question, whether it it pos- 
sible to preserve a due conrruity between the 
modern taste in painting and Gothic architecture, 
the opinion of Cornelius is unhesitating ; but this 

* The particulars relating to tbe practice of fresco* 
painting, are extracts only from more copious detail* 
freely communicated by him.* For some few allosfcme 
to frets, in the history of tbe Arts, connected with tbs 
subjects discussed, the Secretary of the Commission)* 
responsible. These additions are distinguished by 
brackets, or are given as notes. 

t As the opinion respecting tbe necessity of using 
lime that has been long kept Is frequently repeated iu 
this paper, it may be necessary to atate, that other 
German and Italian fresco- painters do not consider it 
essential to keep the lime longer than ten or twelve 
months.— See the remaining papers in the Appendix, 


Digitized by vjVJUVIA^ 




184 *.] 


THE ART-UNION. 


203 


opinion, it will appear, is the result of particular 
news respecting the standard of pictorial excel- 
lence. He thinks the Italian works which the Ger- 
mans most approve, and modern German Art itself 
perfectly fit for such a purpose. The works of 
Heinrich Hess in the AUerheiligen Kapelle at Mu- 
nich are, he observes, in one sense, a case in point, 
since that chapel is in the Byzantine style of archi- 
tecture, the date of which is still earlier than the 
so-called Gothic. In these frescoes the space round 
the figures is often ^ilt, and thus the rude splendour 
of a remote period is united with a grandeur of de- 
sign derived from the purest examples of Italian 
Art. 

It is well known that in the middle ages the ca- 
thedrals and churches throughout Europe, however 
varying in their style of architecture, were more or 
less decorated with painted and gilded ornamemts 
and 'scriptural or legendary subjects. [Vestiges 
of paintings, even in churches where stained glass 
had been used, are often found concealed under 
whitewash, and every year brings some to light in 
Our own country.l* Similar works in a ruined state, 
have lately been discovered in the choir of the ca- 
thedral at Cologne. These are now to be replaced, 
Cornelius states, by Professor Steinle, and the ge- 
neral style to be adopted will correspond with the 
architecture, although the forms and draperies will 
be treated with a due regard to the best examples 
Of art. 

Cornelius thinks that Westminster Hall might 
be decorated on the same principles, with a like at- 
tention to the character of the architecture. He 
considers that as the walls of such buddings were 
Sometimes hung with tapestries, they could oe quite 
as consistently adorned with paintings. It is to be 
observed that in the Hall of Constantine in the 
Vatican, painted by Giulio Romano and others 
from Raphael's designs, the edges of the frescoes 
are made to imitate tne appearance of tapestry ; 
this treatment is also observable in some of tne 
cieling paintings of the Vatican, though differently 
contrived according to their situation. But Cor- 
nelius thinks no such approximation to the effect 
of hangings necessary, since paintings were quite 
As common as tapestry in ancient Gothic edifices. 
He considers the questions as to the appropriate 
ityle of sculpture and painting for Gothic build- 
ings to rest precisely on the same grounds, and as- 
sumes that the artists of the thirteenth century 
would have added better ornaments to the archi- 
tecture of the period if they had possessed the skill. 
He considers it, nevertheless, essential that a cer- 
tain congruity and harmony should be preserved, 
less dependent on association than on general prin- 
ciples. He thinks that the style of some Floren- 
tine masters of the fifteenth century would har- 
monize well with Gothic structures of an earlier 
date or character. 

It is here to be observed that the question of the 
adaptation of the style of art to the architecture is 
Connected in the mind of Cornelius with that of 
the general expediency of returning to those se- 
verer principles of design which, it is acknowledged, 
first led to excellence in Italian Art. With these 
views he connects the consideration of the nature 
and capabilities of fresco, as a means of insuring 
attention to the elements of form and composition. 
The founders of the present German school, as is 
Well known, at first proposed these principles and 
methods not as an end, but as a means which it 
Was hoped would again lead to important results. 
But the attempt, according to the eminent artist so 
often anoted, was at the outset universally con- 
demned. When a few individnals (with that artist 
himself, Overbeck and Veit at their head) began 
the revolution which they have now rendered com- 
paratively popular, they had to encounter the most 
violent opposition and the keenest ridicule from 
their own countrymen ; and even when, after years 
Of perseverance, they had succeeded in gaming 
some favour at home, it was long before foreigners 
acknowledged their merit. Cornelius dwells on 
these circumstances in recommending the style 
above alluded to. 

There are other considerations connected with 
the application of painting to Gothic architecture 
particularly, on which Cornelius was consulted, 
and which may not be undeserving of attention. 
The available spaces for painting in Gothic build- 
ings are supposed to be unfavourable ; the pointed 

* Preston, Dartford, Rochester, the Chapter House, 
Westminster, &c. 


areh, sometimes introduced superficially on walls, 
and the acute forms produced by the simplest 
groinings in ceilings are, it is remarked, difficult 
to fill satisfactorily. It is here necessary to bear 
in mind that the taste for this style of architecture i 
declined in Italy much earlier than in the rest of 
Europe, and hence the examples of celebrated 
paintings in Gothic churches are rare ; the works 
of Cimabue and other early Italian masters at 
Assisi, and those ascribed to Giotto in the church 
of the Incoronata at Naples are, however, cases in 
point, and had Gothic architecture continued to 
prevail in Italy, higher examples, it may be as- 
sumed, would not have been wanting. Cornelius 
does not admit that there is any unusual difficulty 
in adapting painting to the compartments of Gothic 
architecture. [It may be readily granted that all 
cieling-painting is difficult to contrive and execute, 
but no Gothic roof, assuming the groining to be 
simple, could present such difficulties as Michael 
Angelo had to contend with, in the angles of the 
Sistine chapel (the architecture of which is not 
Gothic), where the figures are painted on a pro- 


Gothic), where the figures are painted on a pro- 
jecting ridge formed by the meeting of two curves. 
The celebrated foreshortened figure of Haman is 

R ain ted on such a surface. A portion of the cieling 
1 one of the Stanze of the Vatican, presents simi- 
lar difficulties.] The more florid style of Gothic 
may be acknowledged to be unfit for pictorial de- 
coration on a large scale; its surfaces being so 
crowded with ornamental panelling that little space 
remains for pictures. 

Another objection to the application of painting I 
to Gothic architecture, is the use of stained glass. 

A decoration so suitable in many instances to Go- 
thic windows, is incompatible with the dne effect 
of paintings on the walls, the colours of which re- 
quire to bis displayed by a colourless, and at the 
same time a sufficient light. This objection is met 
by the consideration that stained glass is not de- 
sirable nor usual in all Gothic buildings, to the ex- 
tent to which it was employed in those of a sacred 
character. Its application elsewhere was generally 
less profuse, and might be so contrived as not ma- 
terially to interfere with the quantity or quality of 
the light. In answer to a question on this subject, 
addressed to Cornelius by letter, he replies, “ The 
church 4 in der Aue,’ at Munich, which has painted 
windows, is not adorned with frescoes, but the 
church of St. Francis, at Assisi, shows how painted 
windows and frescoes may be combined. The 
printings discovered in the cathedral at Cologne 
were without doubt executed immediately after the 
completion of the choir."* 

FRESCO AS COMPARED WITH OIL-PAINTING. 

Cornelius is decidedly of opinion that fresco 
should be preferred to oil-painting for the decora- 
tion of the New Houses of Parliament. In pro- 
nouncing this opinion he is of course not alive to 
any of tne considerations which would weigh with 
English judges respecting the present ignorance of I 
the prooess of fresco in this country, and the com- 
parative mastery of onr oil-printers. In no cir- | 
cumstances probably could he prefer oil-pictures to 
fresco, in which hehas for many years been constantly 
engaged, and in which his taste has been formed. 
He, however, supports his preference (at least with 
regard to certain applications of printing) by argu- 
ment and example. He maintains that fresco is on 
every account fittest for monumental, permanent 
works in public buildings in which painting is to 
be considered as the handmaid of architecture. 
The Italian masters, he observes, were always fully 
impressed with the necessity of adapting their 
works to the effect of the architecture, so as to 
make one harmonious whole. The nature of fresco 
fits it for such a purpose. It is indeed impossible 
to produce that illusion which is considered so de- 
sirable in oil -pictures — the same depth of shade is 
not in the artist’s power; but this very circum- 
stance, while it compels attention to composition, 
colour, and form, renders fresco more directly ap- 
propriate for strictly decorative purposes. 

On no point is Cornelius more decided, than on 
the necessity of placing a given series of frescoes 

* Without reference to the style of the architecture, 
the highest authority for the union of stained glass, to 
a certain extent, with paintings on the walla, is that of 
the Stanze of the Vatican, the windows of which were 
enriched with figures of angels supporting the papal 
arms (those of Julius II. and Leo X.), by the glass 
painter, William of Marseilles, at the very time when 
Raphael was painting the frescoes of the same rooms. 
8ee Vasari, Vita di Guglielmo da Marcilla. 


under the control of one directing artist. This ap- 
pears to be quite compatible with the employment 
of many such directors, by subdividing the works ; 
bat he thinks it most desirable that in one complete 
series there should be a congruity of style and 
general execution. In Munich, where great expe- 
rience has now been gained in these undertakings, 
several independent masters have formed scholars 
to work in their style, and these have been ulti- 
mately employed on original works.. This gradual 
education of scholars is observable, if we follow the 
career of Cornelius himself. For example, when 
employed in his first work in Munich (the frescoes 
of the Glyptothek) the cartoons were all the work 
of his own hand ; the assistance he. received was 
only in the execution of the printings. In the 
Pm&kothek his sketches and small drawings sufficed 
for his pupils to prepare some of the cartoons, and 
lastly, in the Ludwig- Kirche the invention even of 
some subjects was entrusted to a scholar, namely, 
Hermann.* 

No new modes of cleaning fresco have been de- 
vised in Germany. To a question on this point 
addressed to Cornelius by letter, he replies - 4 The 
London smoke may, undoubtedly, have a disadvan- 
tageous effect on frescoes; but with a due warmth, 
•—for example, by the introduction of warm air or 
warm water in tubes, — I am of opinion that, in the 
situation where the new buildings are, no particular 
evil effects are to be apprehended. If, however, 
after fifty or a hundred years, it should be found 
that the dirt had accumulated to a great extent, the 
surface could be cleaned with bread. The mouldy 
appearance which sometimes shows itself is to be 
removed with a wet sponge. The mouldy efflores- 

1. ' — ..... k. nnrin- fA 


but. on the other hand, it never appears when the 
walls are built with well seasoned and dry materials. 
In the Munich frescoes no saltpetre has shown it- 
self.” (An artist of Rome, Cavaliere Agricola, 
has been lately employed to clean the old frescoes in 
that city ; he has published the result of his expe- 
rience, and his report, which has been procured, 
would be amongr the documents to be referred to in 
any future inquiry relating to the modes of cleaning 
fresco. The method adopted by Carlo Maratti, in 
1702, as I have elsewhere remarked, is also pre- 
served.) 

TIMB NRCRSSARY rom THB EXECUTION OF 
WORKS IN FRESCO. 

The whole scheme and invention of m series of 
frescoes should not only be settled, but all the large 
drawings made by the time the building is ready ; 
for the work can then advance rapidly. Supposing 
the present buildings to be ready in seven years 
from this time, Cornelius says it is time to begin 
the designs. The German artists, expert as they 
are in drawing, always take some years to prepare 
their cartoons. Cornelius’s cartoon for the altar- 
wall of the Ludwig- Kirche at Munich was executed 
in Rome : he went there for the purpose. If West- 
minster Hall, or any other building already in 
existence, is to be adorned with frescoes, the wall 
should be prepared with the first rough coat of 
mortar at once ; for this ought to be on the wril, 
if possible, for some years before it receives the 
final preparation immediately before painting, un- 
less very old lime be used in the first instance : but 
even in that case, six or twelve months should 
elagsabefore painting on it, to give it ample time 

THE PRACTICE OP FRESCO-PAINTING. 

The Cartoon.— It may be assumed that it is 
impossible to retouch a fresco painting to any ex- 
tent. The portion of the work undertaken in the 
morning must be completed during the day. The 
partial remedies and contrivances in case of un- 
avoidable delay or accidental defects will be here- 
after considered. 

Hence every part of this design must be defined 
in preparatory studies : the fresco is, in fact, a 
copy from these, the forms being traced on the wall 
from drawings tne full size. [Cartoons of the kind 
prepared for fresco (that is, without colours) may 
be seen in the National Gallery ; namely, those at 

* The public spirit of the German artists is apparent 
In the circumstance of Cornelius himself now under- 
taking to superintend the execution of Scbinkel’e de- 
signs in Berlin, with scarcely any addition of his own. 
His own first origiual work in that city, is to be tha 
decoration of a Campo Santo. 


iVJUVLC 

o 


204 


THE ART-UNION 


[Sept.j 


*hc head of the staircase, by Agostino Caracci.* 
When the painting is to be very large, and it is 
found inconvenient to prepare a cartoon of the 
same size, the drawing may be made half the size : 
or, the whole composition of the full size may be 
divided into two or more cartoons ; [thus Raphael’s 
cartoon, for the school of Athens, preserved in the 
Ambrosian Library at Milan, contains the figures 
only, without the architecture.] It is scarcely 
necessary to observe that the cartoon itself is, in 
the first instance, generally enlarged from small 
drawings of the whole composition, with the aid of 
careful studies for the separate parts. The follow- 
ing is the mode in which Cornelius prepares and 
fixes his cartoons. A strong cloth is stretched on 
a frame as if to be prepared for painting ; paper is 
then firmly glued on the doth. When this first 
layer of paper is quite dry, a second layer is care- 
fully glued over it in the same manner. The edges 
of the separate sheets are a little scraped, where they 
overlap, in order to preserve an even surface. The 
surface is then prepared for drawing with size and 
alum. The drawing is made with charcoal, and, 
when finished, is fixed by wetting the back (the 
doth) with cold water, and then steaming the 
drawing in fiont. The effect of this last operation 
is to mdt the size a little, thus fixing the charcoal. 

A finished drawing of the full size being thus 
ready, the outline is traced from it on oiled (trans- 
parent) paper ; if the finished drawing is half the 
size it is enlarged by squares to the full dimen- 
sions, portion by portion ; in this case the paper on 
which it is copied should be moderately thin, for 
the convenience of tracing on the wall. A part of 
thin “ working” outline (as much as can be finished 
in one painting) is now nailed to the wet wall, and 
the forms are again traced with a sharp point, which 
makes an indented outline through the paper on 
the soft plaster. The “ working” drawing is gene- 
rally destroyed in this operation. [The following 
is another mode : the paper to be applied to the 
wall is placed behind, and in close contact with, 
the finished cartoon ; the outlines of the latter are 
then pricked, and the operation necessarily leaves a 
similarly pricked outline on the paper behind. The 
next process is to pounce the pricked outline of the 
latter, when fastened to the wall, with a little bag 
of black or red dust ; this leaves a dotted outline 
on the wall. This method is sometimes adopted 
for small works, as the surface of the plaster thus 
remains undisturbed.] The first mode — tracing on 
oiled paper, and then again from it to the wall — is, 
however, generally preferred, since it insures the 
best and most decided outline, while the finished 
cartoon may be preserved uninjured. In many 
celebrated Italian frescoes the indented outline, pro- 
duced by tracing, is apparent. f 

It has been already observed that the fresco is a 
final operation; any considerable alterations that 
may suggest themselves when the cartoon is com- 
pleted must be made on the cartoon, or rather on 
additional pieces of paper fitted upon it. 

[One of the most interesting examples of the 
nature and extent of the alterations that may be in- 
troduced in a composition prepared for fresco, is the 
cartoon, already referred to, of Raphael’s 4 School 
of Athens. The changes are mostly additions. 
The figure of Epictetus, represented in the fresco 
sitting in the foreground on the left, leaning his 
haul on his hand, is wanting in the cartoon. This 
figure was added to fill up a vacant space, and thus 
the change, though a considerable improvement, 
involved no inconvenience. Some less important 
alterations in the same fresco, such as covering the 
head of Aspasia with drapery instead of showing 
her flowing tresses (for thus she appears in the 
cartoon), might have been made on the wall with- 
out any change in the drawing. That this cartoon 
was the identical one which served for the execu- 
tion of the fresco is proved by the exact conformity 
of every part, except the additions above men- 
tioned, with the painting.] 

Beside the cartoon, in which the forms and 

* Presented by Lord Francis Egerton. Agostino Ca- 
racci assisted in the frescoes of the Farnese Palace, and 
the two subjects in question were, it appears, designed 
and executed entirely by him. See Lanzi, v. 6, p. 74, 
and Mai vasia, v. 1, p. 439. 

t Compare Appendix, No. 5. The outlines of Rapha- 
ePs cartoons are covered with pin-holes. This is very 
apparent also in the fragment of the cartoon for the 
* Murder of the Innocents/ nowin the National Gallery. 
Of the cartoons above mentioned, by Agostino Carracci, 
one (the Triumph of Galatea) has the pricked outline ; 
the other (the Cepbalus and Aurora) not. 


general light and shade are determined, it is de- 
sirable to have a coloured sketch of the whole 
composition, for it is almost as impossible to 
change colours as forms after the fresco is done. 
In general, the German painters are not in the 
habit of making complete coloured sketches for 
this purpose. 

THE PREPARATION OF THE WALL. 

If the wall to be painted is covered with old 
mortar, the ingredients of which are unknown, 
this coat should be entirely removed till the solid 
materials are laid bare. The rough coat then ap- 
plied is composed of river sand and lime. The 
proportions of the sand to the lime may vary in 
different climates, and the working builder and 
mason are sufficiently experienced on this point. 
In Italy, it appears that two parts of sand were 
added to one of lime ; the Germans generally use 
more sand, viz., three parts to one of lime. The 
thickness of the coat is such as is generallyused in 
preparing the walls of dwelling-houses. The sur- 
face of this first application should be rough, but 
not unequally so; and the mason should avoid 
leaving cavities in it. 

The wall thus prepared should be suffered to 
harden perfectly; the longer it remains in this 
state the safer it will be, especially if the lime used 
was in the first instance fresh. In that case, two 
or three years even should elapse before any sub- 
sequent operations are undertaken. Among the 
essential conditions of fresco-painting must be 
mentioned the preparation ana seasoning of the 
lime. At Munich it is made and kept as follows : 
— A pit is filled with clean, burnt limestones, 
which, on being slaked, are stirred continually till 
the substance is reduced to an impalpable consist- 
ence. * The surface having settled to a level, 
dean river sand is spread over it to the depth of a 
foot or more, so as to exclude the air, and lastly 
the whole is covered with earth. The German 
painters suffer the lime to remain thus for at least 
three years before it is used either for the pur- 
poses of painting (for lime is the white pigment) 
or for coating the walls. Cornelius prepared the 
lime for the Ludwig-Kirche eight years before he 
painted there. A great quantity is generally kept 
m Munich, and might, perhaps, be had from thence 
for works in this country. The late Lord Monson 
intended to have had lime from Munich for the 
works which Cornelius was to have done for him 
at Gatton. The pits or vats in which the lime is 
preserved are not lined with brick nor protected in 
any way ; they are dug in the mere earth. The 
lime thus kept is found moist, as at first, after 
many years. Cornelius said that there might per- 
haps be no objection to lining the pits, so as to 
keep the lime clean, but that the usual mode was 
to slake it and keep it in the mode described, f 

The ultimate preparation for painting on the 
dry, hard, well-seasoned mortar is as follows : — 
The surface is wetted again and a$ain, with water 
that has been boiled, or with rain water, till it 
ceases to absorb. Then a thin coat of plaster is 
spread over that portion only which is to be painted ; 
the surface of this coat should be but very mode- 
rately rough. As soon as it begins to set (in ten 
minutes or so according to the season), a second 
thin coat is laid on somewhat fatter, that is, with 
more lime and less sand, — about equal proportions. 
Both these layers together are scarcely a quarter 
of an inch thick. The plaster is laid on and the 
surfaces are smoothed with a wooden trowel — this 
at least is Cornelius’s practice. Some painters 
like the last surface (which is to receive the fresco) 
to be perfectly smooth ; one of the modes of ren- 
dering it slightly rough is to fasten some beaver 
nap to the trowel : another is to pass over the 
plaster in all directions lightly with a dry brush. 

THE PROCESS OF PAINTING. 

A portion of the outline is now traced with a 
sharp point on the plaster as before described, 
wid the painter begins to work when the surface 
is in such a state that it will barely receive the 
impression of the finger, and not so wet as to be 
in danger of being stirred up by the brush : be- 
sides other inconveniences this would fill the 
brush with sand. If the wall has been previously 
well wetted, the plaster will not dry too rapidly ; 
but if, during the course of a dry summer s day 
the surface begins to harden too much and no 

* The Italian mode, described in another paper of 
the Appendix, is somewhat different. 

t Professor Hess directs the lime to be kept in pits 
lined with brick. 


longer takes the colour well, the painter takes a 
mouthful of water from time to time and sprinkles 
it over the surface, in the same manner as sculptors 
sometimes wet their clay models. Much evidently 
depends on the thorough wetting of the dry 
mortar, before the last preparatory coats are ap- 
plied. 

In painting, it will be found that the tints first 
applied sink m and look faint, and it is necessary 
to go over the surface repeatedly before the fuU 
effect appears. But after some time, especially if 
the surface be not occasionally moistened, the 
superadded colour will not unite with what is 
underneath. The change in some of the colours 
from the wet to the dry state can be best learned 
by experience, but it is usual to try the tints at 
first on a brick or tile that absorbs moisture. 

After having completed the portion allotted to 
the day, any plaster which extends beyond the 
finished part is to be removed, and in cutting it 
away care must be taken never to make a division 
in the middle of a mass of flesh, or of an unbroken 
light, but always where drapery, or some object, 
or its own outline forms a boundary ; for, if this 
be not attended to. it is almost impossible, in con- 
tinuing the work the next day, to match the tints 
so that the junction shall be imperceptible ; but by 
making these junctions correspond with the out- 
lines of the composition, the patchwork which is 
unavoidable is successfully concealed. 

In the next day’s operation the surface of the old 
mortar is to be wetted as before, and care must be 
taken to wet the angles round the edge of the por- 
tion previously painted. This requires to be done 
delicately with a brush, in order to secure the suf- 
ficient moistening of every minutest corner, and 
also to avoid wetting or soiling the surface of the 
finished portion. On this last account it is better 
to begin from the upper part of the wall ; for, if 
the lower part is first finished, the water constantly 
runs over the fresh painting. 

When the painter is unable to finish a portion at 
once, or is compelled to leave it during the day for 
a considerable time, the Munich artists have a con- 
trivance which arrests the drying of the work. A 
board is padded on one side, tne cushion being 
covered with waxed cloth ; a wet piece of fine 
linen is then spread over the fresh plaster and 
painting, and pressed to the surface of the wall by 
the cushioned side of the board, while the other side 
is buttressed firmly by a pole from the ground. 

When any defect in the first operation is irre- 
trievable, the spoiled portion is carefully cut out 
and the process above described is renewed for that 
particular part. The same remedy is possible itn 
reviewing the finished work, but here again care 
should be taken that the portion cut out should tie 
bounded by definite lines, for the reason before 
given. This attention to the nice adjustment of 
the successive portions of the work, so as to make 
one whole in the mere execution, is of great im- 
portance in fresco-painting. 

In the finished fresco the depth of shadows is 
often increased, parts are rounded, subdued amd 
softened, by hatching, in lines of the colour re- 
quired, with a brush not too wet ; the medium 
then used being vinegar and white of egg. Shade 
is more easily added in this way than light, but 
some use crayons made of pounded egg-shells to 
heighten the lights. It is to be observed, that 
such retouchings are useless in frescoes painted in 
the open air, because the rain washes them away, 
whilst the rain does not affect frescoes painted 
without retouchings ; of this the paintings on tlie 
Isar-Thor at Munich are a sufficient proof. 
[Cavaliere Agricola who, as before observed, has 
lately published a report on the Roman frescoes, 
is of opinion that they were retouched with colour'd 
crayons. * Vasari, f however, distinctly says that 
frescoes which were not retouched were least sub- 
ject to alteration and decay.] Various methods of 
this kind have, nevertheless, been resorted to by 
the Munich painters, and Cornelius has mentions 
some. 

THE COLOURS AND IMPLEMENTS. 

These details, communicated with all-sufficient 
precision by Cornelius, need not be inserted here, 
as they are given in other papers that follow. Tie 
colours are chiefly simple earths ; no vegetable, and 
few mineral, preparations can be used with safety, 
but there is a mode of rendering vermilion dur- 
able. The palette is of tin, with a rim round it to 

* See Appendix, No. 5. 

t Introduzione, c. 19, and Vita di Antonio Venetians. 




1842 .] 


THE ART-UNION. 


205 


prevent the colours, which are thinned with water, 
from running off. The colours, mixed or ground 
in water, are kept at hand in small pots. The 
brushes are of the usual materials, but they should 
all be somewhat longer in the hair than those used 
for oil-paintings. 

VARIOUS COMMUNICATIONS ON VRESCO- 
PAINTING. 

The following papers contain further information 
respecting the practice of fresco-painting, or point 
out the sources where the subject is more fully 
treated. In inserting these communications ana 
extracts, it has not been possible to avoid occa- 
sional repetition, but in some cases coincident tes- 
timony may be necessary to establish or recom- 
mend particular methods. While the question re- 
specting the adoption of fresco remains, for the 
reasons before stated, undecided, it may appear 
premature to describe its methods so fully ; out it 
is precisely because so little is generally known of 
the process, in this country, that it has been 
thought desirable to take this means of putting the 
artists and the public in possession of the inform- 
ation that has been collected. 

A communication on fresco by Professor Hess, of 
Munich (to Mr. William Thomas), need not be given 
at length, as it agrees generally with the foregoing 
statements by Director Cornelius. In speaking 
of the preparation of the wall, Professor Hess re- 
commends “ bricks well dried, and of equal hard- 
ness,” as the groundwork of the mortar and 
plaster. Mr. Thomas observes, “ All the frescoes 
in Munich are painted on the (plastered) brick 
wall : laths with wattling and copper nails are not 
approved of, as the risk of bulging is thus in- 
creased. The use of laths is sometimes necessary 
for certain surfaces, but the professors in Munich 
are decided that a brick ground is to be preferred 
wherever it is practicable, not only on account of 
its solidity, but also because it is better adapted for 
the execution of the painting. The brick ground 
absorbs superfluous water, and keeps the plaster 
longer in a lit state for painting upon. The paint- 
ing ground dries much quicker on laths, as two 
surfaces are presented for evaporation. The walls 
ought to be thoroughly dr y. A wall of a brick, or 
a brick and a half in thickness, is preferable to 
paint upon. Professor Hess once observed to me, 
that where the walls in the lower portions of build- 
ings were live or six feet thick, the liability of 
saline matter making its appearance was much 
increased, as the mass of wall remains longer in a 
humid state.” 

Mr. C. H. Wilson, professor of ornamental de- 
sign in the Royal Edinburgh Institution, has con- 
tributed much useful information on the subject of 
fresco, derived from his own observation in Italy, 
and from recent communications from his father, 
Mr. Andrew Wilson, now at Genoa. He ob- 
serves : “ In Italy the practice of lathing t calls is 
unknown, but many or the finest Italian ceiling 
frescoes are on lath, and are in perfect condition. 
Most vaulted ceilings, in what is termed the piano 
nobile , or principal floor of every palace, are con- 
structed of wood. The lathing in this case is not at- 
tached to single thin pieces of timber, cut to the shape 
of the ceiling, but to a strong grating ; in some cases 
the ribs ana transverse pieces of this grating are 


Mr. Hamilton recommends that the lining of 
brick should be somewhat detached, leaving a 
small space between it and the stone wall, to which 
it could be bound at intervals. Mr. C. Wilson, in 
communicating this opinion, remarks, that as the 
brick lining, added to walls of sufficient solidity for 
the support of the ceiling here described, would 
diminish the size of the rooms, tiles placed edge- 
wise might be used instead of bricks. These 
should, however, be of sufficient strength to be in 
no danger of fracture from any ordinary accident. 
To guard against damp from roofs, or even occa- 
sional washing of upper floors, it is also suggested 
that a coating of aspnalte might be applied on the 
upper sides of the arches of the ceiling. In some 
cases asphalte might be necessary in walls. Mr. 
C. Wilson observes, that a French architect, M. 
Polonceau, effectually checked the progress of 
damp from a humid soil, in several instances, by 
covering the horizontal surface of the masonry a 
few inches above the level of the soil with a coating 
of liquid asphalte, applied with a brush ; when this 
was ary it was covered with a layer of coarse dry 
sand, and the building then proceeded. An ex- 
ternal joint of hard asphalte at the same level is 
necessary effectually to cut off all communication 
of damp. (See the “ Revue G£n£rale de 1’ Archi- 
tecture,” September 1841.) These and other re- 
marks on the construction of walls and ceilings 
have been communicated with all deference to the 
judgment and experience of the architect of the 
new buildings at Westminster. 


new buildings at Westminster. 

In considering the question resi 


In considering tne question respecting the com- 
parative fitness of latns and bricks, as a ground- 
work for fresco, it is not to be forgotten that the 
battened wall sooner adapts itself to the tempera- 
ture of the atmosphere, and is therefore less likely 
to be affected by external damp ; while the cold- 
ness of the more solid wall causes the rapid con- 
densation of moisture in humid weather. This 
evil might perhaps be guarded against by due pre- 
cautions with regard to temperature and ventilation. 

Mr. C. Wilson next describes the mode of pre- 
paring the lime at Genoa: — “The lime having 
oeen slaked is mixed in a trough about six feet in 
length, and twenty inches in width ; at the bottom 
it is somewhat narrower. The instrument used in 
mixing it is similar to that used by our masons. 
The lime is worked with this, and water is thrown 
in till the substance is of the consistence of cream. 
At the end of the trough there is a little sluice, the 
opening of which, however, comes only to within 
an inch and a half of the bottom of the trough. 
On being drawn up, the sluice allows the lime to 
escape, but small stones or impurities which may 
have sunk to the bottom are prevented from pass- 
ing by the ledge under the opening. The lime is 
received in a pit dug in the mere earth (not lined) 
to the depth of several feet, and of any convenient 
size. The process of mixing in the trough is re- 
peated till the pit is well filled, the trough being 
washed out with clean water every third or fourth 
mixing.” 

“ Tne lime being thus prepared, is left in the pit 
from eight to twelve month a,* according to its as- 
certained strength. The lime for the first rough 
coat need not be kept more than two months : this 
is allowed to dry perfectly, before the next coats 
are put on. The proportion of sand to lime is the 
same as with us, viz., two of sand and one of lime. 
No hair is used by the Italian plasterers. The 
lime of which the intonaco t or coat of fine plaster, is 
composed, is, however, to be subjected to a much 
more careful preparation than that used for the 
first coat. After it has T>een kept the requisite 
time, it is taken out with a spade, the greatest 
care being necessary not to come too near the 
edges, sides, or bottom of the pit, lest any clay or 
earth should be taken up with the lime. It is 
now thrown again into tne troughs, and is again 
thoroughly mixed with water, till it is not thicker 
than milk ; it is then allowed to escape as before, 
through the opened sluice, but this time it passes 
through a fine nair sieve into an earthenware jar; a 
number of these jars are required, and each is filled 
to within a third of the top. The lime is allowed 
to settle, and when the water which rises over its 
surface is clear, it is poured off. This is repeated 

* In Florence, where fresco-painting i6 now occa- 
sioally practised, artists are of opinion that, “ the lime 
should be kept in the moist state from eight to twelve 
month * , otherwise it will born both colours and 
brushes.” (Letter from Mr. Seymour Kirkup, Florence, 
1842 .) 


country, And used in so many ways. It grows to 
the length of about 18 feet, and is rather more than 
one inch and a quarter diameter at the base. When 
these reeds are used fo; lathing they are split, and 
not being strong enough for tne purpose in this 
state, they are wattle d upon the grating.* The re- 
sult of this somewhat complicated contrivance is 
a framework of great strength.” 

Mr. Hamilton, a distinguished architect of 
Edinburgh, observes : “In the preparation of 
walls and ceilings for fresco-painting, no expense 
should be spared ; battens and laths are obviously 
perishable materials, and therefore ought to be 
avoided. The damp from exterior stone walls may 
be guarded against by lining them with brick, and 
now that the use of cast-iron is so well understood, 
the girders or joisting of houses where fresco- 
painfing is contempleted should be of iron arched 
with brick between, and thus a perfectly level, 
ceiling may be formed of the most durable kind.” 
For the mor e effect ual p revention of damp, 

• Compare with the directions of Vitruvius, Appen- 
dix No. 5. 


till there is no more water to pour off, and the lime 
remains in the jar, of the consistence of the white 
paint commonly used, and is quite as smooth. It 
is now ready to be mixed for the intonaco, which 
consists, as usual, of two parts sand and one of 
lime. Great pains are taken in Italy to find a 
suitable sand: it must be perfectly clean, sharp 
sand, the grains of equal size, ana its colour fa- 
vourable, as the intonaco should not be too dark. 
The presence of any earthy particles in the plaster 
would inevitably rum the fresco : this accounts for 
the very careful preparation which all the materials 
used undergo.” 

Professor Hess recommends avoiding the inter- 
mixture of plaster of Paris in the mortar for the 
first rough coat (in the finer coats it is never em- 
ployed as a preparation for fresco), and advises a 
moderate use or small flint pebbles. The rough 
coat should not be too compactly laid on, as its 
porousness is essential to the convenience of fresco- 
painting. In like manner the last finer coats 
should be lightly floated on to ensure their power 
of absorption. He proceeds: “ The plaster for 
painting on is composed of lime not in too caustic 
a state, and pure quartz sand. With regard to the 
lime, it should be well and uniformly manipulated, 
and should be entirely free from any small hard 
lumps. The sand should be very carefully washed 
to cleanse it from clayey or saline particles, and 
should be afterwards dried in the open air. Sand 
that is coarse or unequal in grain should be sifted ; 
thus the plaster will be uniform in its texture. 
The proportion of sand to the lime is best learned 
from experience, and must depend on the nature 
of the lime. If the plaster contains too much 
lime it becomes incrusted too soon, is too smooth 
in surface and easily cracks ; if it contains too little 
it is not easily floated, the successive patches (as 
the fresco proceeds) are not to be spread conve- 
niently in difficult situations, and the plaster is not 
so lasting.” 

“ Before laying on the plaster, the dry rough 
coat is wetted with a large brush again and again, 
till it will absorb no more. Particular circum- 
stances, such as spongy bricks in the wall, humid 
or very dry weather, &c., dictate the modes in 
which this operation is to be regulated. The plas- 
ter should be laid on lightly and freely with a 
wooden hand-float; in connecting the successive 
patches some portions require, however, to be 
finished with an iron trowel; in this case care 
must be taken not to press too strongly, otherwise 


rust spots might appear in the lime, and even 
cause portions of the superadded painting to be- 
come detached. [A glass float seems to be pre- 
ferable where a wooden instrument is unfit. J The 
plaster should be about a quarter of an inch in 
thickness. The surface of the last coat is then 
slightly roughened to render it fitter for painting 
on. The wall thus prepared is to be left a quarter 
or half an hour before beginning to point.” 

The colours enumerated by Professor Hess are 
the following:— 14 White: lime which has either 
been long kept, or by repeated manipulations and 
drying is rendered less caustic. Yellow : all kinds 
of ochres, terra di Siena. Red : all kinds of burnt 
ochres, burnt terra di Siena [the brightest particles 
selected at different stages of the process of burn- 
ing, furnish, according to Director Cornelius, very 
brilliant reds] , oxides of iron, and lake -coloured 
burnt vitriol. Brown : umber, raw and burnt, 
and burnt terra vert. Black : burnt Cologne earth, 

| which when thus freed from its vegetable ingre- 
dients, affords a pure black. Purple : burnt vitriol, 

' cobalt blue, and lake-coloured burnt vitriol. 
Green : Verona green (terra vert), cobalt green, 
and chrome green. Blue: ultra-marine, cobalt, 
and the imitation of ultra-marine ; the last is most 
safely used for flat tints, but does not always mix 
well with other colours. These colours have been 
well tested, and for the most part admit of being 
mixed in any way. Other more brilliant co- 
lours, such as chrome yellow, vermilion, &c., 
have been tried in various ways, but have not 

J ret, in every case, been found to stand. Co- 
ours prepared from animal and vegetable sub- 
stances cannot be used at all, as the lime destroys 
them.” Fresco-painters observe that “ great at- 
tention is necessary in the due preparation of tints 
on the palette, for if tints are mixed as the work 
proceeds, the painting when dry will appear streaky : 
when the colours are wet the differences are not so 
perceptible.” 

In addition to hog’s hair tools, which, as before 


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206 


THE ART-UNION 


[Sift., 


observed, are longer than those used in oil-paint- 
ing, “ small pencils of otter hair in quills are used. 
No other hair resists the lime, but becomes either 
burnt or curled. The palette, of the material and 
form before described, is covered with a light co- 
loured varnish to protect the tin from rust. Rain 
water (that has not passed through an iron tube), 
boiled or distilled water should be used from first 
to last in all the operations of fresco-painting.” 

Professor Hess continues : — 44 After the painter 
has laid in his general colour, he should wait half 
an hour, accordingly as the colour sets, before he 
proceeds to more delicate modelling. In these 
first operations he should avoid warm or powerful 
tints, as these can be added with better effect as 
the work advances. After the second painting and 
another shorter pause, the work is finished with 
thin glazings and washings. In this mode the re- 
quisite degree of completion can be attained, pro- 
vided the daylight and the absorbing power of the 
plaster last. Hut if the touches of the pencil re- 
main wet on the surface, and are no longer sucked 
in instantaneously, the painter must cease to work, 
for henceforth the colour no longer unites with the 
plaster, but when dry will exhibit chalky spots. 
As this moment of time approaches, the absorbing 
power increases, the wet crush is sucked dry by 
mere contact with the wall, and the operation of 
painting becomes more difficult. It is, therefore, 
advisable to cease as soon as these indications 
appear.” 

44 If the wall begins to show these symptoms too 
soon, for example in the second painting, some 
time may be gained by moistening the surface with 
a large brush, and trying to remove the crust or 
setting that has already begun to take place ; but 
this remedy affords but a short respite. In the 
additions to the painting on successive days, it is 
desirable to add the new plaster to that part of the 
work which is not quite dry, for if added to diy 
portions the edges sometimes exhibit spots. Vari- 
ous other effects sometimes take place from causes 
that cannot be foreseen, and the remedies must be 
provided by the ingenuity of the artist, as the case 
mav require.” 

The following extract from a letter, addressed by 
Mr. Andrew Wilson to his son (in March last) , will 
render the process of painting in fresco more intel- 
ligible ; but it is almost needless to observe, that 
in such details, the practice of painters may vary 
considerably : — 

44 I lately went to the royal palace (Genoa) to 
see the Signor Pasciano paint a ceiling in fresco. 
His tints nad all been prepared before my arrival ; 
he had only two in pots, viz., pure lime and a very 
pale flesh tint. He had no palette, but a table 
with a large slate for the top : on it he set round, 
1. Terra vert. 2. Smalt. 3. Vermilion. 4. Yel- 
low ochre. 5. Roman ochre. 6. Darker ochre. 
7. Venetian red. 8. Umber. 9. Burnt umber. 
10. Black. These colours were all pure, mixed 
only with water and rather stiff ; put down with a 
palette knife, perhaps about an ounce, or two at 
most, of each. He mixed each tint as he wanted 
it, adding to each from the pot of flesh tint or that 
of white. Near him lay a lump of umber, and on 
taking up a brushftilof colour he touched this with 
it ; the earth instantly absorbed the water, and he 
was thus enabled to judge of the appearance which 
the tint would present when dry. The painter used 
a resting-stick with cotton on the top to prevent 
injury to the intonaco. The intonaco being pre- 
pared in the manner which I have described, the 
moment it would bear touching he set to work. 
The head was that of the Virgin ; he began with 
a pale tint of yellow round the head for the glory 
(tne colour of the ground, owing to the mixture of 
sand with the lime, it is to be remembered is a cool 
middle tint), he then laid in the head and neck 
with a pale flesh colour, and the masses of drapery 
round the head and shoulders with a middle tint, 
and with brbwn and black in the shadows. He 
next, with terra vert and white, threw in the cool 
tints of the face; then, with a pale tint of umber 
and white, modelled in the features, covered with 
the same tint where the hair was to be seen, and 

* with it also indicated the folds of the white veil. 
AH tfaii'flafo he used the colours as thin as 

* we do in water-colours ; he touched the intonaco 
with great tenderness, and allowed ten minutes to 
elay%e before touching the same spot a second 
time. He now brought his coloured study, which 
stood on an easel near him, and began to model 
the features, and to throw in the shades with 


greater accuracy. He put colour in the cheeks, 
and put in the mouth slightly, then shaded the 
hair and drapery, deepening always with the 
same colours, winch become darker and darker 
every time they are applied, as would be the case 
on paper for instance. Having worked for half 


an hour, he made a halt for ten minutes, during 
which time he occupied himself in mixing darker 
tints, and then began finishing, loading the lights 
and using the colours much stiffer. and putting 
down his touches with precision ana firmness ; he 
softened with a brush with a little water in it. 
Another rest of ten minutes : but by this time he 
had nearly finished the head and shoulders of his 
figure, which, being uniformly wet, looked exactly 
like a picture in oil, and the colours seemed 
blended with equal facility. Referring again to 
his oil study, he put in some few light touches in 
the hair, again heightened generally in the lights, 
touched too into the darks, threw a little white 
into the yellow round the head, and this portion 
of his composition was finished, all in about an 
hour and a half. This was rapid work ; but you 
will observe that the artist rested four timet . so as 
to allow the wet to be sufficiently absorbed into 
the wall to allow him to repass over his work.” 

44 The artist now required an addition to the 
intonaco ; the tracing was again lifted up to the 
ceiling, and the space to be covered being marked 
by the painter, the process was repeated j and the 
body and arms of the Madonna were finished be- 
fore I left him at one o’clock.” 

The following is an extract from a second letter : 
— 41 Yesterday I went again to see Pasciano, and I 
found that he had cut away from his tracing or 
cartoon those parts which he had finished upon the 
ceiling; in fact I now found it cut into several 
portions, but always carefully divided by the out- 
line of figures, clouds, or other objects. These 
pieces were in some instances a good deal de- 
tached from each other, and were nailed to the 
plaster so as to fold inwards or outwards for 
pouncing the outlines. The intonaco had just 
been fresh laid for the upper half of an angel sup- 
porting the feet of the Madonna ; this was one of 
a group much larger than those surrounding the 
glory, and therefore requiring more colour and 
finish ; more than half of the figure too was in 
shadow, with a strong ray of light on the face and 
on one of the arms ; this was a good opportunity 
of observing the painter’s management of shadow. 


of observing the painter’s management of shadow. 
Having gone over the outline carefully with a 
steel point, he waited till the intonaco became a 


steel point, he waited till the intonaco became a 
little harder, and in the mean time mixed up a 
few tints, he then commenced with a large brush, 
and went over the whole of the flesh; he next 
worked with a tint which served for the general 
mass of shadow, for the hair, and a slight mark- 
ing out of the features. He now put a little co- 
lour into the cheeks, mouth, nose, and hands, 
and all this time he touched as lightly as he pos- 
sibly could, not to wash up the intonaco. He 
then halted for ten minutes, looking at his oil 
study, and watching the absorption of the mois- 
ture, and he called ray attention to his outline ; 
none of it was effaced by this washing. 

44 The intonaco would now bear the gentle pres- 
sure of his fingers, and with the same large brush, 
but with water only, he began to soften and unite 
the colours already laid on. Observe, he had not 
as yet used any tint thicker than a wash of water- 
colour, and he continued to darken in the shadows 
without increasing the force or depth of colour. 
This I before noted to you, that you can strengthen 
by the simple repetition of tint, but if the day be 
very dry, after an hour or two this process of re- 
peating with the same tint produces an opposite 
effect, and instead of drying darker, it actually 


dries lighter. [See this explained in the commu- 
nication by Professor Hess.J I now observed that 
the painter had increased the number of his tints, 
and that they were of a much thicker consistence, 
and he now began to paint in the lights with a 
greater body of colour, softening them into the 
shades with a dry brush, or with one a little wet 
as he required. In drying, the water comes to 
the surface, and actually falls off in drops, but 
this does no harm whatever to the work; although 
it sometimes looks alarming.” 

Mr. C. Wilson observes, that the 4 Aurora’ of 
Guido, in the Rospigliosi Palace in Rome, was 
painted on a copper trellis, and afterwards fixed on 
the ceiling where it still exists. He adds that this 
fresco was offered for sale about fifteen years 


since, and that its safe removal was guaranteed. 
Mr. W. Thomas states that some small (lafid* 
scape) frescoes by Professor Rottmtn, in fht 
Hofgarten in Munich, were painted on an irbfi 
frame and wire-work, and fixed in their situatioil 
afterwards. The example of Guido’s 4 Aurora,’ 
the figures of which are larger than life, show! 
that it would be possible to prepare moveable 
frescoes for situations where this might be* thought 
necessary ; for example, before flues or tubes in 
walls. But it is to be remarked that flues behind 
frescoes have generally injured them. Mr. Agfa), 
who painted some frescoes at Manchester some 
years since, attributes the great alteration of the 
eolours in them partly to this circumstance : but 
also to his having been supplied with lime that was 
much too fresh. Cavaliere Agricola, in examine 
ing the frescoes ’of the Vatican, found that the 
1 Heliodorns’ had suffered considerably from a 
flue behind it. The plaster had been de* 
tached from the wall, and projected in some place! 
nearly four inches ; it had been secured with nails, 
and the cracks had been filled with some compo- 
sition by Carlo Maratti in 1702. The fresco of 
the 4 Defeat of the Saracens at Ostia' has been 
injured in like manner by a chimney behind It.* 

In connexion with the subject of moveable freS- 
coes it may be observed that the operation of de- 
taching the mere painting from the wall, almost 
independently of the plaster, has been often prac- 
tised with success. Although less immediately 
connected with the present inquiry, it is desirable 
to make this process known, as, in repairing 
churches and other buildings in England, many 
ancient ; paintings on plaster have been destroyed, 
from ignorance as to tne means of removing them. 
Mr. Ludwig Gruner rives the following account of 
the mode in which he detached some frescoes at 
Brescia in 1829. The convent of St. Eufemia in 
that city was then undergoing repair, and the 
excellent frescoes it contained , painted by Lattansio 
Gambara in the 16th century, would have been 
destroyed, when Mr. Gruner succeeded, With the 
assistance of some expert Italians, in removing 
them from the walls. The mode they adapted was 
first to clean the wall perfectly : then to pass a 


first to clean the wall perfectly : then to pass a 
strong glue over the surface, and by this means to 
fasten a sheet of fine calico on it. The calico, after 
having been ri vetted to the irregularities of the 

-ii i: a 7a. _i ttv. 


naving been n vetted to the irregularities of the 
wall,f was afterwards covered with glue in Hke 
manner, and on it was fastened common strong 
linen. In this state heat was applied, which caused 
the glue even on the fresco to sweat through the 
! cloths, and to incorporate the whole. After this 
a third layer of strong cloth was applied on a new 
coat of glue. The whole remained in this state 
two or three days (the time required may vary 
according to the heat of the weather). The super- 
fluous cloth extending beyond the painting was 
now cut off so as to leave a sharp edge ; the opera- 
tion of stripping or rolling off the cloth began at 
at the corners above and below, till at last the mere 
weight of the doth and what adhered to it assisted 
to aetach the whole, and the wall behind appeared 
White, while every particle of colour remained 
attached to the cloth. This operation shows that 
tile colours in fresco do not penetrate very deeply : 
the layer of pigment and lime which was detached 
in this instance was extremely thin, the outhnes 
and even the colours of masses were visible at the 
back of the doth. It is the opinion of some of 
the Munich professors that frescoes thinly painted 
are least liable to change ;% the example just riyefi. 
exemplifying as it does the practice of a skilful 
Italian fresco painter, seems to confirm this, but 
in many instances the surface of frescoes even by 
the older masters is solidly painted. To transftr 


the painting again to cloth, in completing tbs 
operation above described, h stronger glue is used 
which resists moisture, it being necessary to detach 
the cloths first used by tepid water, after the back 
of the painting is fastened to its new bed. 


* Alcnne osservmxtoni artistiche fatte dal Cavalim 
Filippo Agricola, Arc., in occasions di aver tdto via 
l’ingombro di polvete che olfuscava i farooti Dipinti 
di Kaffaeilo nelle Camere Vaticaue. Koma, 189, 

pp. 7—22. 

t Mr. A. B. Johns, of Plymouth, suggests fastening 
one or two layers of blotting- paper on the surface of 
the painting at first; not only because that material 
may be made to adhere more closely to the wall, but 
because it is more easily detached by moisture, together 
with the cloths, when the painting is re-transferred to 
a new surface. 

% Communication from Prof. Schnorr, 23rd Feb, 1812. 


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1842 ,] 


THE ART- UNION 


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I 

I 


The frescoes by Paul Veronese, in the Morosini 
Villa, near Caste! Franco, were removed by Count 
Balbi of Venice a few years since : he fastened 
cloth to the wall with a paste composed of beer and 
flour, and rivetted it to the insularities of the 
Surface by means of a hammer composed of bris- 
tles.* Several of these works when re- transferred 
to canvass were sold in England in 1838. The 
Operation of removing frescoes has been lately per- 
formed with success in Florence and elsewhere.f 

METHODS Or FRESCO-PAINTING DESCRIBED BT 
WRITERS ON ART. 

The observations on the practice of fresco-paint- 
ing by early writers on Art coincide generally with 
the statements above given; the only point on 
which those writers do not appear to insist is the 
necessity of keeping the lime for a very long pe- 
riod. In other respects, Cennini and Leon Bat- 
tista Alberti, in the fifteenth century; Vasari, 
Armenini, andBorghini, in the sixteenth ; Andrea 
Pozzo, in the seventeenth ; and Palomino, in the 
beginning of the eighteenth, describe, more or lest 
fully, the same process. But before referring to 
these writers, it may be desirable to take a glance 
at the ancient authorities who have described the 
modes of preparing walls with stucco on which 
fresco-paintings were executed. 

Vitruvius suggests that where there is danger of 
damp affecting the coats of plaster, a thin (brick) 
wall should be carried up within and in some mea- 
sure detached from the main wall.t When timber 
partitions were to be covered with stucco, two 
layers of split reeds were nailed with broad-headed 
nails on the upright and cross pieces, the one ver- 
tically, the other horizontally ; 44 the double row 
of reeds thus crossed and firmly fixed prevents all 
cracks and fissures.”! The coats of plaster, from 
the rongh-cast to the finished surface, were nume- 
rous, namely, after the rough-cast, three of sand 
and Jime, and three of marble- dust and lime.|| 
The last coat was often highly polished. 44 When,” 
Vitruvius afterwards observes, “ only one coat of 
Sand and lime and one of marble-dust and lime 
are used, the plaster is easily broken and cannot 
receive a brilliant polish.” When frescoes were* 
added the surface was necessarily somewhat less 
smooth. 

The passage that follows, relating to paintings 
on walls, has been often the subject of contro- 
versy, but when compared with the practical de- 
tails of fresco, already described, it can hardly fail 
to be understood as referring to that method. 
The ancient writer’s mode of accounting for cer- 
tain effects is, of course, unimportant. 44 Colours,” 
Vitruvius observes, 14 when carefully applied on 
moist stucco, do not therefore fade, but (on the 
contrary) last for everjf because the lime having 
been deprived of moisture in the kiln, and having 
become porous and absorbent, readily imbibes 
whatever (moisture) Comes in contact with it ; and 
the Whole, when dry, seems composed of one and 
the same substance and quality. Hence stuccoed 
walls, when well executed, do not easilv become 
dirty, nor do they lose their colours when they 
require to be washed, unless the painting was 
carelessly done, or executed after the surface was 
dry.” ** The general evenness of the wall is here 
explained to be essential to the due effect of the 
paintings ; the opposite evil, that of an undulating 
surface, on which dust lodges irregularly, is seen 
in some of the frescoes of the Vatican. 

This general evenness of the plaster does not 
snppote unpleasant smoothness of surface in the 
fresco; in many Italian, and indeed many antique 

* Communication from Mr. John Goldlcutt. 

t The following publications may be consulted for 
further information on this subject : Leopoldo Cico- 
gnara, Del Distacco delle pitture a fresco. Articolo 
estratto dall* Antologia di Firenze, 1825. Vol. 18, 
num. 52.-‘-Girolamo Baruffaldi, Vita di Antonio Contri, 
pittore e rilevatore di pitture dal muro. Venesla, 1884.— 
Cenni sopra diverse pitture staccate dal muroe tras 
portate an tela, 4cc. Bologna, 1840. 

X De Architect, 1. 7, c. 4. This is the mode in which 
the stuccoed and painted walls of Pompeii are con- 
structed : the bricks, or rather tiles, are placed edge- 
wise, anu are connected by leaden cramps to the brick 
or tufo wall, without being ill immediate contact with 
it. (Communication from the Chevalier Schlick.) 

§ lb., c. 3, Compare Pailadius de Re Rustics, L 1, c. 3. 

fl Pliny (I. 36, c. 23) says that three of sand and lime, 
and two of luarble-dust and lime, are indispensable. 

41 A similar opinion is expressed by a Venetian painter, 
Paolo Pino : Ilialogo di Pittura, Vcu. 1518, p. ID. 

** lb. c. 3. 


mural paintings, the traces of the brush often in- 
dicate a considerable body of colour; but care 
seems to have been taken not to load the surface 
unequally. In a London atmosphere this com- 
parative evenness of the surface might, on the 
Vitruvian principle, protect the painting longer 
from smoke and dust, while it would assist the 
operation of cleaning. But the work might be 
protected by other means ; the plaster might be 
applied so that the face of the wall— at least in the 
portions intended to receive frescoes — should not 
be quite perpendicular, but incline a little inwards 
(with reference to the room) towards the upper 
part. In connexion with the question of surface, 
it may be remarked that the hardening of the lime 
takes place sooner in proportion to the roughness 
of the surface. In Plate 2 of Smith's translation 
of Vicat (“ Rdsumd sur les Mortiers et Ciments 
Calcaires*’) will be found representations of sec- 
tions of lime a year old, exhibiting the progress of 
the carbonic acid and the comparative redintegra- 
tion of the original carbohate of lime.* Captain 
Smith remarks (p. 173), 44 It would be difficult to 
credit, did we not see it, how great an obstacle a 
smoothness of surface presents to the penetration 
of the carbonic acid.” 

Leon Battista Albertif copies Vitruvius in many 
points : he observes generally that the more coats 
a wall receives the better the surface may be 
polished, and the longer it will last, and speaks of 
ancient examples in which there were nine succes- 
sive coats. He alludes more directly to the prac- 
tice of his own time when he says that no stucco 
should be composed of less than three coats 
these he afterwards describes. 44 The first rough 
coat,” he observes, 44 should be composed of pit 
sand and pounded bricks; the pieces of brick 
should not be broken too small. For the second 
coat river sand is best adapted, and is less apt to 
crack ; this second coat also should be somewhat 
rough, because nothing that is applied to a smooth 
surface will adhere to it. The last coat should be 
as white as marble, in fact, pounded white marble 
should be used instead of 6and. This coat need 
not be thicker than half a finger’s breadth, some 
make it no thicker than the sole of a shoe. In 
many places,” he proceeds, 44 we find nails fas- 
tened m the wall to keep on the coats of plaster, 
and time has shown that they had better be of 
bronze than of iron. Instead of nails, I much ap- 
prove the practice of inserting thin pieces of flint, 
projecting edgewise from the joints of the stone : 
these should be driven in with a wooden mallet.” 
Various directions follow, partly derived from 
Vitruvius, partly from his own experience. Speak - 
of colours that are fit and unfit for fresco, his ex- 
pressions are at once in accordance with an 
ancient authority § and with modern practice ; in 
this, as in other instances, Leon Battista Alberti 
appears as the connecting link between ancient 
and revived art. He speaks of the 44 newly- 
invented art of painting with linseed oil,” as cal- 
culated to last for ever on wails, provided they are 
perfectly free from damp ; on this subject be could 
of course have no experience. He concludes by 
observing that he had seen even fresh lime painted 
with colours prepared from vitrified substances. 

* On this subject, see Appendix No. 6. 

t De Re iEdificatorift, 1. 6, c. 9. 

X He is still so far true to the Vitruvisn rules, that 
he speaks of each layer in the plural, as if the number 
of coats was indefinite. His Italian translator (Cosirao 
Bartoli, 1550). reduces these half classical directions to 
the practice of the day, and gives the Florentine techni- 
cal terms for the general expressions of Allierti ; the 
tint off at o rough-coat, the arriciato sand-coat, and the 
intonaco (tunica) fine plaster. 

$ Pliny (1. 35, c. 7) observes that certain colours, 
which he enumerates, are unfit for fresco (udo), but 
may be employed on a dry grouud of gypsum (cretulam). 
Bo elsewhere (L 88, c. IS) speaking or an artificial blue, 
be states that it would not stand on lime,“usua in 
creta, calcis im pattens.” Andrea Pozzo observes, that 
all colours tnayr be used on a ground of gypsum ; the 
word creta, or its diminutive, is probably to be under- 
stood here to mean gynsum ; the similar Italian word 
is often employed in this sense. Sir Humphry Davy 
observes, 44 the ancients were not acquainted with the 
distinction between aluminous and calcareous earths, 
and 4 creta’ w as a term applied to every’ white tine earthy 
powder.” (Philosophical Transactions for 1815, p. 112, 
note.) The precise meaning of creta is, however, here 
less important ; the above passages of Pliny, together 
with that before quoted from Vitruvius, are sufficient 
to establish the fact that the ancients painted on moist 
lime. The analysis of some antique paintings by Sir 
Humphrey Duvy confirms this. 


Cennini,* who has recorded the old Florentine 
methods, states that 4 4 both the lime and the sand 
should be well sifted. If the lime is what is called 
a rich lime, and has beea recently slaked, there 
should be two parts of sand to one of lime.f On 
being slaked it should be well mixed and stirred, 
and a quantity should be made sufficient to last for 
15 or 20 days. It should then be suffered to re- 
main for tome daytj in order to render it les* 
caustic, for if too caustic, the intonaco t will blis- 
ter.” The mortar composed as above serves for 
the first coat, the surface of which is to be left 
somewhat rough ; the application of the thinner 
coat or pain ting- ground is afterwards described, 
and the lime for this purpose is recommended to 
be well stirred and manipulated, 44 till it appears 
like ointment.” The practice of painting, de- 
scribed by Cennini, is less important, but the 
allusion to glazing in fresco is worth consulting.! 
The mode of preparing lime for the white to be 
used in painting, called 44 bianco sangiovanhi,” is 
precisely the same as that practised by modem 
fresco- painters, and is thus described by Cennini. || 
44 Take very white slaked lime reduced to a fine 
powder ; place it in a large tub, and mix well with 
water, pouring off the water as the lime settles, 
and adding fresh for eight days. The lime, 
divided into small cakes, is then placed to dry in 
the sun on the house-top, and the longer these 
cakes are left the whiter they become. To shorten 
the process, the cakes may be moistened again 
with water and well ground, and then again dried ; 
this operation, once or twice repeated, renders the 
lime perfectly white.” Cennini adds, 44 without 
this finely-ground white, flesh-tint*, and other 
mixed tones that may be required, cannot be exe- 
cuted in fresco.” 

Armenini^ describes some varieties of this pro* 
cess as follows 44 Take the whitest lime, such a* 
is commonly found in Genoa, Milan, or Ravenna ; 
this is to be well washed (purgata) before it is 
used ; the painters prepare it in various ways : 
some, in order to render the lime less caustic, boil 
a certain quantity well on the fire, always skimming 
the froth ; it is then suffered to cool and settle in 
the open air; the water is poured off, and the 
lime is put on new sun-baked bricks [which absorb 
the moisture] ; and the lighter the lime the purer 
it is. Others bury the lime in the earth, after 
having thus washed it, and keep it in this statd 
many years before they use it ; others expose it, 
while undergoing the same preparation, on the 
roofs of houses. Some mix it in equal propor- 
tions with marble dust. But it has been found 
that if the lime is exposed to the air in a large 
vessel, and water that has been boiled is poured 
on it, the whole being stirred, and if the next day 
it is spread in the sun, it will be sufficiently puri- 
fied, and may be used for painting the following 
day, but not for flesh-tints, for these might un- 
dergo some change at the edges (of the successive 
patches of plaster).” ** 

Sp e aking of retouching, Armenini observes ff, 

* Trattato della Pittura, date of the MS., 1437. First 
published, Rome, 1821. 

t Thia is the general proportion mentioned by the 
ancient writers (Cato, Vitruvius, Pliny, and Pallaoius), 
and appears to l>e now commonly in use. According 
to some modern authorities, the proportion of sand (for 
general purposes) may be very much increased with 
advantage; see Higgins, 44 Experiments and obser- 
vations made with the view of improving the art of 
composing calcareous cements, &c., London, 1780,” 
p. 51. But Vicat, by a scries of accurate experiments, 
ascertained that 44 the resistance of mortars made from 
very rich limes slaked by the ordinary process, in- 
creases from 50 to 240 parts of sand to 100 of lime in 
stiff paste, and beyond that decreases indefinitely.” 
(Resume sur les Mortiers et Ciments Calcaires, p. 51). 
Thus two parts and half of sand to one of rich lime 
are already beyond the due proportion. 

X Cennini mentions two coats only, End applies the 
term intonaco to both. 

§ lb. p. 62. Compare Merimle, De la Petoture k 
l’Huile, p. 312. (Translated by W~ B. Sarsfield Taylor). 

II lb. p. 47. 

% De’ Veri Precetti della Pittura. Ravenna. 1687, 
1. 2, c. 7. The details given by Armenini on tne pre- 
paration of the cartoon (ib. c. 6), and on the practice of 
fresco are the more valuable, as they were derived from 
his own observations of the methods employed by the 
best masters. 

** Director Cornelius, in addition to his opinions al- 
ready given on this subject, thus expresses liitnself, in 
answer to some further inquiries : — All lime used for 
the first and second coats on the wall should be old. 
having been preserved in pits. That lime only Is boiled 
which is used as u pigment.” 

tt lb. c. 10. 


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208 


THE ART-UNION. 


[Sept., 


44 in frescoes which arc not exposed to the weather, 
it is possible to give the requisite completeness by 

K ing Of er the work when dry.’* The shadows, 
adds, may be finished and deepened, “ by 
hatching, as in a drawing, with black and lake, in 
water-colours, using a brash of marten-hair, not 
too small. In diluting the colours, some use gum, 
some thin size, some tempera (white and yolk of 
egg.) * He admits that in the course of time such 
retouchings fade. 

The descriptions of Vasari f end Borghinit 
are more concise. It might be inferred that a 
mixture of a certain quantity of sand with the lime j 
must reduce the whiteness of the latter to a middle 
tint, but Borghini alone takes notice of this cir- 
cumstance ; he even assumes that a slight tint of 
black is added to the plaster, perhaps when the 
sand was of too warm a colour. From the de- 
scription of Leon Battista Alberti, it appears that 
the last coat was white, and the mixture of lime 
and marble-dust, mentioned by Armenini, seems 
to show that the same practice was sometimes fol- 
lowed in the 16th century. Armenini speaks also 
of another practice which agrees with the appear- 
ance which some of the older frescoes present ; he 
says that some painters were in the habit of cover- 
ing the wall with a coat or two of white (wash) 
immediately before beginning, in order to give 
more brilliancy to the superadded colours. He 
disapproves of the practice, as tending to injure 
the effect of the shadows, but the practice itself 
shows that in this case the intonaco was not in the 
first instance white. § 

Andrea Pozzo, the author of the original of the 
Jesuit's Perspective, and the painter of the cele- 
brated ceiling of S. Ignazio in Rome, and other 
works of the kind, added a short treatise on Fresco 
to his great work on Perspective. || The subject 
is treated under the following heads 1. The 
construction of the scaffolding. 2. The applica- 
tion of the rough-cast (arricciare) : on this he 
observed that the painter should never begin to 
work where the rough-cast has been recently laid 
on, especially if in interiors, on account of the 
moist exhalations and the smell of the lime, both 
of which are hurtful.^ 3. The application of the 
intonaco . This is to be done when the wall is 
thoroughly dry ; it is then well moistened as be- 
fore described before the intonaco is laid on. 41 The 
lime used for this purpose should have been slaked 
a year or six months before, and is mixed with 
well washed river sand of moderate fineness. In 
Rome the painters use pozzolana, but as this is of 
unequal grain, it is difficult to levigate mortar 
composed of it, and it is impossible to stir it again 
after some hours ; this being sometimes necessary. 
An expert and active mason should be selected to 
Spread the intonaco equally, and to leave the 
painter time enough for his work within the day. 
4. Roughening the surface (granite). The into- 
naco being equally spread, it will be well slightly 
to rub up with a brush the minute grains of 
sand, as the colours adhere better to a somewhat 
rough surface. This operation is essential in great 
works that are to be seen at a distance ; it 
is also useful in a certain degree in near 
works, but it will be advisable in the latter case 
to spread a sheet of paper over the work at last, 
and with the trowel slightly to press the surface ; 


and with the trowel slightly to press the surface ; 
the too prominent particles of sand will then sink 
in and disappear. 5. Drawing. Every one knows 


t Introduzione, c. 19. 

i 11 Rlposo. Firenze, 1584. Republished Milan, 1807. 
Vol. I., p. 198. 

§ Compare with the extracts from Palomino in this 

the end of the first edition, 1693—1700. The 
first section, on the construction ot the scaffolding, con* 
sists only of a general recommendation to attend to 
safety; but the work on perspective contains some inte- 
resting descriptions of his mechanical contrivances in 
the execution of the extensive works in which he was 
engaged. 

^ It is evident, however that, to avoid these evils, a 
month or two would be sufficient. 


that before beginning to paint it is necessary to 
prepare a drawing and well-studied coloured 
sketch, both of which are to be kept at hand in 
painting the fresco, so as not to have any other 
thought than that of the execution. There should 
also be a cartoon, of the size of the intended work ; 
this may be placed in the situation in order to 
judge of the effect at a distance, and to make such 
corrections as appear necessary.' 4 6. Enlarging 
and transferring by squares. Such methods are 
recommended for curved and irregular portions of 
architecture, where it may be difficult to trace from 
drawings. According to some passages in Cennini 
and Armenini this seems to have been the practice 
with the early Florentines, even on level walls ; in 
this mode the squares were first marked on the 
rough dry mortar and repeated, (the extremities 
of the lines being visible) on the intonaco. In 
this process time was lost, and the outline was less 
correct. 7. Tracing on the wall. Either with au 
iron point, or by ponneing a pricked outline as be- 
fore described. 8. The palette. 44 Before begin- 
ning to paint, the colours are to be prepared as 
well as the intermediate tints, such at least as are 
wanted for one figure ; indeed, if a mass of archi- 
tecture is to be painted it will be necessary to pre- 
pare a key-tint for the whole work, otherwise it 
will be found difficult in repeated operations (after 
the tints have changed in drying) to match the 
colour. Other methods, however necessary, need 
not be described, as they are common to oil- 
painting." 9. Painting. The general observa- 
tions are the same as those before given; the 
the author suggests that a small (tin) vessel for 
water may be attached to the palette ; he recom- 
mends not beginning to paint till the intonaco 
will barely receive the impression of the finger, 
otherwise the whole work will be weak, and could 
only serve for a first painting. 10. Painting more 
solidly ( impost are e caricare). 44 This is peculiar 
to fresco, that the first colours which touch the 
lime immediately lose their force. It is therefore 
necessary to go over the work again with a greater 
body of colour, taking care never to leave the 
portion allotted for the day till it is quite finished, 
because all retouching after a certain time will de- 
form the work : it would be better even to wait till 
the wall is quite dry, and then retouch." 11. 
Retouching. The author admits that it is better 
not to retouch, but adds that as the lime always 
undergoes some slight change, particularly in the 
shadows, it is sometimes unavoidable ; he observes 
that such retouchings are useless in the open air 
as the rain washes them away. 12. Softening. He 
recommends the use of soft, long brushes, not too 
moist, and states that the finger may be used 
sometimes with effect in heads, when the lime be- 
gins to grow hard. He alludes to other methods 
for the gradation of light in glories, &c. 13. 
Excision and entire repainting. The possibility 
of such corrections, and the mode of making them 
have been already alluded to. 44 In interiors, 
alterations may be made merely by repainting on 
the dry surface, provided such alterations are re- 
quired for distant figures." 14. Colouriug. Gene- 
ral observations on colours fit for fresco. 15. 
White. Lime kept a year or six mouths is to be 
thinned in water, and passed through a hair-sieve 
into a large vessel; the water is poured off as 
soon as the lime has settled ; thus prepared, it is 


* This is explained in 1. 2, c. 8 (on Tempera). “ The 
colours are commonly mixed with thin size, and also 
with tempera, except the blues, which would become 
green, owing to the yellowness of the egg medium." 
It appears from Cennini (ib. p. 70), that the yolk of egg 
was used with the white, and even alone ; the white 
alone was sure to crack. Armenini further observes, 
"the Flemish artists use size alone, because tempera 
has the effect of darkening the colours.” The vehicles 
of gum, size, vinegar, and white or yolk of egg used by 
the moderns for tempera (or for retouching frescoes), 
were all employed by the ancients. See Pliny, L 35, c. 6. 


fit for painting. A list of colours follows, differ- 
ing but little from that given by the older writers, 
and also by Professor Hess, Director Cornelius, 


and Mr. Andrew Wilson. The following is Pozzo’s 
method of preparing vermilion for fresco. 44 This 
colour is altogether hostile to lime, particularly 
when exposed to the external air, but 1 have often 
used it for draperies in paintings executed in inte- 
riors, having first prepared it as follows : — Take 
pure vermilion in powder, and having placed it in 
an earthenware vase, pour on it the water that 
boils up when lime is slaked in it; the water, 
which should be as pure as it can be, is then poured 
off, and the operation is often repeated. In this 
manner the vermilion is penetrated with the quality 
of the lime, and always retains it.' 4 Cennini and 
Armenini, on the other hand, distinctly say that 
vermilion will not stand in fresco. 

Palomino,* in his first general account of fresco, f 
gives a list of the principal works in that method 
executed by the Spanish masters in Madrid, Cor- 

* El Museo Pictorico y Esenia optica, second edition, 
Madrid, 1795. The first is dated 1715—24. 

f lb. Vol. 1, p. 51. 


dova, and Seville. His description of the method 
itself* is fuller than those hitherto referred to in 
this paper ; but, to avoid unnecessary repetition, 
it will be sufficient to quote his directions where 
they differ from those already given. The lime 
should, he says, be prepared if possible four or six 
months before it is used. Then, after having been 
passed through a hair-sieve, it is mixed with sand, 

3 uite free from clay, sifted in like manner ; his 
irections for doing this are minute. The quin* 
titles are to be equal, this he had found from his 
own experience to be the best proportion, espe- 
cially if the lime is rather fresh, but if not, the 
plaster may be composed of three parts of lime to 
two of sand. This stucco is to be Kept in a large 
tub in which it may be conveniently stirred ; it is 
to be kept quite moist, and remains covered with 
water. If the work to be executed is extensive, 
it will be well to prepare more than one tab ; thus 
while the first is being used, the additional pro- 
vision may become duly tempered. In this state 
it is to be stirred and beaten daily, taking care to 
remove the pellicle which remains on the surface 
of the water ; thus prepared, it becomes perfectly 
mild and of the consistence of lard, f it no longer 
injures the colours, nor, in passing from the wet to 
the dry state, is it liable to those changes which 
sometimes disappoint the most expert. 44 Three 
things are essential in the rough-cast before apply- 
ing this intonaco : first, that it should be perfectly 
dry, otherwise saltpetre will appear ; next, that it 
should be generally level though rough, for if not 
the intonaco will be unequally thick, and will 
crack where it is thickest ; thirdly, that it should 
be well wetted before applying the intonaco. 0 The 
author even recommends wetting the portion to 
be painted the evening before, especially in sum- 
mer. 44 The intonaco should be about the thick- 
ness of a dollar. £ After it is well spread, the as- 
sistant is to go over it with a roll of soft wet linen, 
to get rid of the extreme smoothness, to remove 
the traces of the trowel, and slightly to stir the 
sand. The surface is next to be lightly passed 
over with a handkerchief to remove the particles 
of sand which are on the surface, and which, in 
painting ceilings," the author observes, 44 might 
get into the eyes. Care mutt be taken in tracing 
the first portion of the composition, to fix the 
paper precisely in the right place, because the sab- 
sequent lines depend on the first ; for this purpose 
the whole drawing had better be first fitted to 
to the space before it is cut up for the convenience 
of tracing. 4 ’ The drawing, in this instance a pricked 
outline, is pounced with a bag of pounded char- 
coal ; the edge of the portion first applied should 
also be pounced as a guide where to cut off the 
superfluous intonaco : it is, however, cut away not 
close to the line so marked, but about two fiogers' 
breadth from it, to avoid cracks and to ensure the 
completion of the portion traced to the very edge: 
(the remainder of the superfluous intonaco is not 
to be scraped away till the day's work is done). 
The dotted outline left by the pouncing is then to 
be gone over with black chalk, which will at once 
leave a dark line, and at the same time slightly in- 
dent the surface ; so that if, in painting, the chalk 
line should disappear, the indented one will still 
serve as a guide. In describing this method the 
author alludes to the old method of tracing with a 
wooden point, and refers to frescoes thus drawn in 
the palace 44 del Pardo."§ He speaks of the 
finished cartoons of Michael Angelo, Raphael, the 
Carracci, and others, but observes (and here the 
degeneracy of his age appears), that since their 
time artists had become impatient of so much toil, 
having found that their enthusiasm evaporated be- 
fore the period arrived for the execution of the 
painting. 

The surface is now to be again lightly wined 
with a handkerchief to remove the charcoal that 
might remain ; it is then to be sprinkled with 
water with a plasterer's large brush ; this and a 
vessel of clean water are to be kept at hand, as the 
same operation may require to be often repeated, 
especially in summer. Ano|her brush and a sepa- 
rate vessel of water should be kent for washing 
out any work which may require to be effaced ; the 

* Vol. 2, p. 143. 

t The author here appears to allude to the lime only, 
but he is speaking of a mixture of lime and sand. 

1 The particular coin mentioned is the 44 real de 4 
ocho.” 

§ There were frescoes in this palace by Vicenrio and 
Bartolomd Carducho and Eugenio Cajes. 


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1842 .] 


THE ART-UNION. 


209 


water In this second vessel becomes gradually 
tinged with lime, and cannot serve for sprinkling 
the work as it would leave white spots. In frosty 
weather it is necessary to keen these vessels on the 
fire, and the assistant should use worm water in 
first preparing the wall. “If,** the author con- 
tinues, 44 owing to extreme cold, the surface of the 
intonaco freezes, the effect is worse than rapid dry- 
ing, for no absorption takes place, and the colours 
afterwards crumble off like ashes, as I have myself 
experienced.* If, therefore, the use of warm wa- 
ter is not sufficient to prevent such effects, it will 
be better to wait for milder weather/’ The list of 
colours does not materially differ from those 
already given, but the qualities and changes of the 
various pigments in fresco and the best modes of 
employing them are minutely described. Vermi- 
lion, the author says, will stand if passed over terra 
rossa. The preparation of the lime for mixing 
with the colours is the same as that already men- 
tioned ; the composition of the principal tints and 
their preparation immediately before employing 
them, are described. f A close silk sieve is recom- 
mended in preparing the white for the palette. If 
the lime be too fresh its causticity may be reduced 
by mixing finely-ground marble dust with it : (see 
the following paper in this Appendix.) A large 
palette of well prepared canvass is proposed on 
account of its lightness ; the paiette is cleaned 
from time to time with a sponge. In the execution, 
the back ground and more distant portions of the 
work allotted for the day are to be put in first ; the 
observations on these practical details are copious 
and useful ; the tints may be softened, if desired, 
so as to equal the union of oil-painting by means 
of a moderately moistened brush. 

For retouching, the author recommends goat's 
milk or common milk thinned with water, and 
mentions some colours that may be employed : % 
Luca Giordano, be adds, retouched with white of 
egg. It appears from the author's experience (and 
this is confirmed by modern practice), that re- 
touchings are most necessary at the junctions of 
the successive patches of the Monaco. 

The author remarks that the old masters went 
over the intonaco with a general tint of white and 
terra rosso before they began to paint, to render 
the surface more even ; the operation, before de- 
scribed, of pressing and smoothing the surface 
by means of paper was, he states, practised by 
them at last, when the day's work was quite com- 
pleted. He concludes with some observations on 
cupola-painting and on the constructing of scaf- 
foldings. 

From the report of Cavaliere Agricola § on Ra- 
phael's frescoes in the Vatican, it appears that the 
effect of those paintings was originally much 
heightened by retouchings, some of which have 
faded. Thus in the architecture of the 41 School 
of Athens," the masses of light and dark only 
were put in in fresco, but the minuter forms and 
mouldings were added in water-colours when the 
fresco was dry : a similar double operation is ob- 
servable in white draperies. || In some instances 
even coloured retouchings are apparent ; these are 
introduced in the mode described by Armenini, 
not ip masses, but by means of hatching (employ- 
ing lines as in shading a drawing) ; one of the car- 
dinals in the subject of the “Attila" is thus 
finished. Such retouchings appear to be distinct 
from those added by Carlo Maratti. 

C. L. Eastlake, Secretary. 

LIMB FIT FOR FRESCO-PAINTING. 

_ From the preceding statements it appears that 

* The principal frescoes of Talomino, are at Valencia, 
8alamanca, ana Granada. He died at an advanced age, 
in 17M. 

t For some of these details, the author refers to a 
previous chapter (Vol. 9, p. 110), on the practice of 
tempera-painting. 

% Some blues are best added when the wall is dry : 
thus it is related, that when the Pope compelled Michael 
Angelo to remove the scaffolding from the Cappella 
Sistina, the retouching of ultra-marine had not been 
added. See Condiyi. Vita di Michel a gnelo. 

4 Already referred to, Appendix No. 4. 

D These methods appear to have been the remains of 
the early Florentine practice. Cennini says, “ Every- 
thing which is executed in fresco requires to be finished 
and retouched when dry in tempera.” (Ib. p. 74, and 
note). The frescoes of the early Italian painters were 
in fact half tempera-pointinga. Merimle (De la Pein- 
ture 4 l’Huile, p. 310) appears to be in error in sup- 
posing that Cennini directs certain colours to be mixed 
with tempera when used on the wet lime. The Italian 
artist, no doubt, alluded to the second operation. 


it is of importance to select a quality of limestone 
which shall furnish a material fit for a white pig- 
ment, and well adapted in other respects for the 
ground or surface which is to receive the painting. 
On this subject it may be sufficient, in the absence 


tarnish a material fit for a white pig- 
ell adapted in other respects for toe 


On this subject it may be sufficient, in the absence 
of long tested experiments in our own country, to 
consult the practice of the early Italian and mo- 
dern fresco-painters. 

A limestone consisting of as few foreign ingre- 
dients as possible is generally esteemed the fittest.* 
But other circumstances are to be taken into the 
account ; Carrara marble, wbich is pure carbonate 
of lime, is liable when heated, from its granular, 
crystalline structure, to fall into a coarse powder, 
and thus the inconveniences attending the burn- 
ing and slaking it render it unfit for use, if re- 
quired in considerable quantity. + On tbe other 
hand, limestones which have been long used, appa- 
rently without any bad results, for the preparation 
of lime employed in painting, will often be found 
to contain various ingredients besides carbonate 
of lime. 

The particular limestone recommended by Va- 
sarft is Travertine; the lime it furnished was 
without doubt used by tbe great artists who 
painted in Rome in the beginning of the 16th 
century, and was in all probability employed for 
similar purposes by the ancients. § Tne Colos- 
seum, St. Peter's, and various other ancient and 
modem edifices in Rome are built with blocks of 
this stone ;|| its colour is a yellowish white, but 
after long exposure to the air, it acquires a reddish 
tint, probably from the small amount of iron wbich 
it contains. It is found in abundance throughout 
tbe Campagna, and even within the walls of 
Rome. It forms, in a horizontal layer, the face 
of the Aventine Hill to the height of nearly 100 
feet immediately above the Tiber.^f Some of the 
ancient quarries are near Tivoli, and the stone is 
the same in quality, with the sole difference of 
superior hardness acquired by age, as that still 
annually formed by the calcareous deposit of the 
waters of tbe Anio ; the same tartar, as it is called, 
lines the ancient and modem aqueducts. The 
abundance of this deposit is easily accounted for 
by the origin of these streams from the chain of 
the Apennines, which, iu central Italy, consist 
almost entirely of a comparatively soft limestone. 
The stone called Travertine is thus a formation 
by means of fresh water; it is full of hollows, 
frequently cylindrical in form, occasioned by the 
calcareous sediment being originally deposited on 
vegetable substances.** These accidents in its 
formation may be detected in their progress in the 
neighbourhood of Tivoli.ff 

From this account of the origin of the stone, it 
might be inferred that it would be almost a pure 
carbonate of lime. Its analysis in fact is : — +t 

Carbonate of lime 99 *4 

Alumina with a trace of oxyde of 
iron 6 


* Memoir communicated by Professor Schlotthauer, 
of Munich, to Professor Schnorr, for the nse of the Se- 
cretary of the Commission. 

t Aikin on Limestone and Calcareous Cements, 
Transactions of tbe Society of Arts. v. 51. Leon Bat- 
tista Alberti (De Re jEdiflcatoril, L 3, c. 4) observes, 
that lime which is reduced to powder in the kiln is 
unfit for use. 

t Introduzione, c. 4, c. 13, c. 19. 

^ Pallsdiu* (De Re Kustica, I. 1, c. 10) mentions it 
among the fittest stones to bnrn for lime. 

|| Vasaria (ib. c. 1) makes especial mention of its em- 
ployment by Michael Angelo, even for ornamental work 
in the cortile of the Farnese palace. 

H Bunsen, Beschreibung der Stadt Rom, v. 1, b. 1. 

** The epithet ftstuiosvs applied by Vitruvius (1. 2, 
c. 5) and Fliny (1. 36, c. 24) to the stone used for the 
finest lime is especially appropriate to the Travertine. 

ft Leon Battista Alberti (ib. 1. 2, c. 9) speaks with 
wonder of the growth of Travertine, in ignorance of the 
cause. Vasari (ib. c. 1) describes and explaius it 
accurately. Modern chemists have watched the pro- 
gress of the formation. “In May, 18—,” says Sir 
Humphrey Davy, “I fixed a stick on a mass of Tra- 
vertine covered with water, and 1 examined it in the 
beginning of the April following, for the purpose of de- 
termining the nature of the depositions. The water 
was lower at this time, yet I had some difficulty, by 
means of a sharp-pointed hammer, in breaking tbe mass 
which adhered to the bottom of the stick ; it was several 
inches in thickness.” — Consolations in Travel, p. 127. 
Quoted in Smith's Translation of Vicat. “ Sur les Mor- 
tiers et Ciments Calcaires.” 

ft The analyses given in this statement, have been 
carefully made by Mr. Richard Phillips, of the Museum 
of Economic Geology, under the sanction of her Ma- 


The lime it furnishes is of the purest whiteness. 
It appears from Armenini,* that tbe Genoese lime 
ranked in the 16th century among those remark- 
able for tbeir whiteness. The stuccatori of Genoa 
arc among the most skilful in Italy, and the prac- 
tice of fresco painting is still very common there. 
It has been already observed that frescoes have 
lasted there extremely well on tbe external walls 
of houses, notwithstanding tbe action of the sea 
air. A specimen of the stone furnishing the lime 
used in Genoa for fresco-painting has been pro- 
cured. It contains a considerable portion of mag- 
nesia, its analysis being, 

Carbonate of lime 63 

Carbonate of magnesia 36 

Earthy matter, oxyde of iron, and 
bituminous matter 1 


The lime used for fresco, at Munich, is also re- 
markable for its whiteness. It is mado from 
pebbles, washed by tbe torrents of the Isar from 
the marble moutains of the Tyrol. The analysis 
of the stone is, 

Carbonate of lime 80 

Carbonate of magnesia 20 


A specimen of the lime new used by the Floren- 
tine fresco-painters has also been procured. On 
being analysed, it proves to be so nearly pure car- 
bonate of lime that no appreciable quantity of any 
admixture is to be detected. 

Tbe analyses of the limes employed for some 
frescoes that have stood well in this country, may 
here be added. 

The fresco executed, seventeen years since, by 
Mr. Thomas Barker, at Bath, has been already 
alluded to. The Wick (Bath) stone furnished the 
lime ; the analysis of the stone is, 

Carbonate of lime 97 

Impurity, chiefiy oxyde of iron 3 


Mr. David Scott, of Edinburgh, painted a fresco 
in that city about eight years since ; the limestone 
was obtained from the Vogrie quarry, near Edin- 
burgh. Its analysis is, 

Carbonate of lime 94 *5 

Silica, alumina, and a little oxyde 
of iron and bituminous matter . 5 *5 


It has not been possible to procure the stone 
which furnished the lime for some frescoes, executed 
by Mr. John Zephaniah Bell, at Muir-house, near 
Edinburgh, about nine years since, and which 
have stood perfectly well, but a small portion of 
the lime which had dried in a jar has been ana- 
lysed, and was found to consist of 44 hydrate, or 
slaked lime, of carbonate of lime, and minute 
traces of alumina and oxyde of iron." It ap- 
peared to be well fitted for the purpose of fresco- 
painting. 

If these examples show that the presence of 
various ingredients of a certain kind, or to a cer- 
tain extent, is not prejudicial, the extreme purity 
of the Travertine (not to mention the Florentine 
limestone) is, on the other hand, sufficient autho- 
rity for selecting a stone furnishing a very pure, 
or, as it is technically called, a very rich lime. 
The following are analyses of stones from the 
neighbourhood of Bristol ; similar speimens are to 
be found elsewhere. 

Limestone procured by Mr. Phillips from a 
quarry, called the 44 White Quarry," on Durdham 
Down, near Bristol, 

Carbonate of lime 99 *5 

Bituminous matter 0 *3 

Earthy matter 0 *2 


Limestone marked, 44 Bristol Durdham Down, 
white limef 

Carbonate of lime 99 *6 

Bituminous matter 0 *2 

Earthy matter and oxide of iron. ... 0*2 


jetty’s Commissioners of Woods and Forests. The 
chemical facts and theories adduced rest also on the 
authority of tbe same able investigator. 

* De’ Veri Precetti, &c., 1. 2, c. 7. 
t Specimen procured by Mr. T. L. Donaldson. 


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Limestone merited, *' 1 Bristol Durdham Down, 
producing very white lime for plasterers * :*’ 


Carbonate of lime 99 *7 

Bituminous matter 0 *1 


Oxyde of iron and earthy matter. . . 0 *2 

100 

Thus the Durdham Down limestone is equal or 
even superior to the Travertine in purity. The 
original colour is less promising, owing to the 
presence of bituminous matter, but this disappears 
in the burning, f 

The question ss to the means of rendering lime 
(using the word in the general sense) less caustic, 
seems to be quite determinable by chemical in- 
vestigation. It is true the results are at variance 
with the opinions of some experienced living 
artists, but it will have been seen that the Italian 
writers on Art by no means insist so emphatically on 
the necessity of keeping slaked lime for a very long 
period ; ana in the practice of the modern Italian, 
and indeed some German fresco-painters, it is not 
considered essential to keep it longer than a few 
months. That lime is for a certain period unfit 
for the purposes of painting, is, however, suf- 
ficiently evident. The well known effect (noticed 
by Cennini) £, is that it blisters if used too fresh ; 
in some instances, it is said to have turned the 
colours to a brownish red.§ All are agreed, in 
short, that the caustic quality requires to oe miti- 
gated ; the only questions seem to be — what are 
the best aud shortest means of effecting this, and 
to what extent is it desirable ? In order to a clear 
view of this subject, it may be necessary at first to 
state a few elementary facts. 

It is common to talk of more or less caustic 
limes, as if mere lime could vary in its quality | it 
is the same in all limestones, and is only greater 
or less in quantity. The purest limestone con- 
sists, in atomic proportions, || solely of, 


Carbonic acid 44 

Lime 56 

Carbonate of lime 100 


Thus constituted, whether in its original state 
or reproduced by chemical agency, it is not at all 
caustic. If the limestone be subjected to suf- 
ficient heat, it loses the carbonic acid, and there 
are left, 

Lime 56 

Let there be added to this lime as much water as 
will combine with it, and the result is a com- 
pound of, 

Lime 56 

Water 18 

Hydrate of lime 74 

It is to be observed that this proportion of water 
in combination with the lime does not (apparently) 
moisten it. Hydrate of lime is a dry powder ; the 
addition of more water either mixes with the lime 
mechanically or dissolves it. 

Let these 74 of hydrate of lime be exposed to 
the air, the water is expelled by carbonic acid, and 
the result is, as at first^f — 


Carbonic acid 44 

Lime 56 


100 

This is, chemically speaking, the original lime- 
stone, although the original state of cohesion is 
never regained. 

The non-caustic state of lime is therefore arrived 
at when, by exposure to the air or by other means, 

* Specimen procured by Mr. T. L. Donaldson. 

t The ancients appear to have trusted to the colour 
of stones before burning, see Vitruvius, 1. 2, c. 5. 
Pliny and Palladius repeat the same opinion. 

± Trattuto, &c., c. 67. 

§ These accidents happened to Mr. Aglio’s frescoes 
at Manchester, and in Moorflelds Chapel in London, 
from the carelessness of those who prepared the lime. 
The blistering of the lime in the latter case was so uni- 
versal, that tne surface of the painting, soon after it 
was finished, looked as if flakes of snow bad covered it. 
(Communication from Mr. Agiio.) 

The equivalent of curbonute of lime is here doubled, 
for the sake of convenience ; the original atomic weight 
being, Carbonic acid . . 22 

Lime .... 28 

50 

% It is found that the carbonic acid does not, even in 
the course of ages, penetrate to any considerable depth 
in masses of masonry (Vicat. Rtsumt 4 , &c., p. 122), but 
a su|)ertieial redintegration actually takes place. See 
a subsequent note. 


it has regained its maximum of carbonic acid ; but 
if buried aud kept air-tight, the lime cannot in any 
degree acquire that which renders it non-caustic. 
“ Time/’ observes Mr. Phillips, “ has no effect 
on pure lime, whether slaked or unslaked, pro- 
vided it be not exposed to atmospheric air or some 
other source of carbonic acid." 

One of these sources, though not an abundant 
one, is spring or river-water, which contains car- 
bonic acid and carbonate of lime,* and the fre- 
quent washing recommended by all the authorities 
on fresco-painting, is a means of restoring the 
lime to the state of carbonate; pure or caustic 
lime being constantly carried off in solution with 
the water that is thrown away, and carbonate of 
lime being formed. The mixture of water with 
carbonate of lime is a mere mechanical mixture ; 
non-caustic lime may therefore be kept in a moist 
state. It might also be kept in a dry state with- 
out further change, but, whether moist or dry, it 
would be wholly useless for the composition of 
mortar, and would possess no adhesive quality. 
In the last state of mildness it would resemble 
mere moistened chalk, and would crumble to dust. 
But as long as the lime is still caustic, as long at, 
in other words, it has not recovered its quantum 
of carbonic acid, it will, on exposure to the air in 
a moist state, rapidly attract it, and the surface 
soon becomes incrusted, and in a manner petri- 
fied. t This is what takes place during and after 
the process of fresco-painting; moisture being 
always the medium— the conductor, so to speak, 
of carbonic acid. 

It thus appears that a considerable degree of 
causticity is indispensable in lime to give it ad- 
hesive firmness, and to render it fit for the pur- 
poses of the fresco-painter. X This degree expe- 
rience must teach ; but the means of diminishing 
the caustic quality are always possible. In ad- 
dition to the recombination of carbonic acid with 
pure lime, which, as has been seen', can be pro- 
moted in various ways, a mechanical mixture with 
non-caustic substances, pulverised white marble, 
or even chalk or whiting, might possibly answer 
the purpose. Armenini§ observes, that some 
fresco-painters mixed lime and marble-dust in 
equal proportions, and Palomino || (on the autho- 
rity of Luca Giordano) states that the practice was 
universal throughout Italy in his time. In fact 
a mixture of this nature with various substances 
actually exists in several limestones : thus the 
stones which furnish the limes of Munich and 
Genoa contain magnesia in considerable propor- 
tions ; such limes may therefore in one sense be 
called mild. Perhaps the lime known at Milan 
and elsewhere by the name of “ calcina dolce" 
may be of this description. The presence of 
magnesia, if not otherwise objectionable (and ex- 
perience seems to decide that it is not), cannot 
obviously lessen the whiteness of the lime. Other 
natural ingredients, although they might equally 
have the effect of rendering the substance less 
caustic, might be less desirable as ingredients in 
lime for fresco-painting. Thus iron would affect 
the colours; silica and alumina would probably 
cause the lime to set too fast. 

But although the quantity of the lime may be 
thus reduced, it must not t>e forgotten that in 
itself it is still perfectly caustic till combined with 
carbonic aoid, and in modern practice it appears 

* Recently boiled or distilled water, and recent rain- 
water recommended in the practice of fresco-painting, 
contain neither. 

t “ If rich lime be spread in layers three quarters of 
an inch thick, it will in teu mouths re-absorb at much 
carbonic acid as is necessary to saturate it.’* (Vicat. 
ib., p. 17). On the theory of the solidification of 
mortars, see the same work, p. 123, and the notes in 
the English translation, p. 125, Ac. 

X An intelligent writer in the Antologia di Firenze, 
Pietro Petrim, considers, however, that Cennini’a 
“ bianco aaugiovanni” (see the preceding paper of this 
Appendix) was entirely restored to caroouate of lime. 
That it was, at all events, no longer in any degree 
caustic, appears certain, siuce Cennini (Trattato, c. 144) 
speaks of mixing it with vegetable colours in fresco. 
He probably meant, in re-touching fresco when dry* 
us tne lime for the iutonaco wa* only kept “ some days,** 
(ib. c. 67) and could not have lost its causticity. (See 
the Antologia di Fireuze, v. 6, pp. 539, 40, and v. 7, 
p. 326.) 

§ lb., 1. 2, c. 7. 

Ii El Musco, &c., 1. 7, c. 6. He recommends one- 
thud or one-fourth of marble dust, and distinctly says, 
that it was to mitigate ttie caustic quality of the lime, 
when it had not been kept long enough ; ground ala- 
baster, he observes, would do equally well. 


that the same precautions are taken (whether they 
are necessary or not is another question) with the 
magnesian as with other limes. It is also to bo 
observed that there is a considerable difference In 
the rate at which different limea recover their 
carbonic acid, the white (pure) limes take It np 
the most rapidly, and the argillaceous and magne- 
sian limes the most slowly.* Oa the whole, 
therefore, a pure limestone seems to be preferable. 

With regard to the question of burying lime, 
or keeping it by some means air-tight, it is evident 
from the previous statements that, instead of 
rendering it mild, this would preserve it in a caustic 
state for almost any length of time. There would 
be no danger of its becoming dry even if buried 
in the mere earth ; but for the sake of preserving it 
clean, the pits had perhaps better be lined. Thus 
preserved in the state of putty , as it is technically 
called, no chemical change could take place, but 
a mechanical alteration in the arrangement of the 
particles might be the resalt, which might be ad- 
vantageous by improving the consistence of the 
paste. 

It is not to be expected that the ancient autho- 
rities who have undertaken to explain these results 
should be always accurate in their views, but their 
testimony with regard to the results themselves is 
important. Vitruviusf observes, " Stucco (al- 
baria opera) will be well executed if lime of the 
best quality be slaked long before it is wanted, 
in order that, if any portion was imperfectly burnt 
in the kiln, the action of moisture in long mace- 
ration may slake it and reduce it to the same con- 
sistence as the rest. For if lime be used too fresh, 
instead of being thoroughly macerated, it will, 
when spread (on walls), throw out blisters owing 
to the crude particles that lurk in it ; these par- 
ticles, not having been duly slaked, swell, and 
destroy the smoothness of the plaster.** This 
explanation does not satisfy the modern chemist, 
but it will be observed that the evil pointed 
out is assumed to result from imperfect slak- 
ing, not from too caustic a state of well-slaked 
lime. Plyny+ observes that the longer mortar 
is kept the better it is, and speaks of an ancient 
law relating to building which prohibited the 
use of mortar that had not been kept for three 
years, adding, that the stucco executed daring 
the operation of that law was free from cracks. 
Palladius, § evidently copying Vitruvius, recom- 
mends that lime intended for stucco should be 
slaked long before it is used, and describes it, 
after having been so kept, as soft and adhesive 
(viscosum). Leon Battista Alberti, |1 after re- 
peating the above passage from Vitruvius, asserts 
that he had seen •• some ancient lime which, there 
was reason to suppose, had laid neglected in a 
trench for more than 500 years, ana which far 
surpassed honey, or marrow in consistence.'* 
These passages show that long maceration, or, as 
it is now technically called, “ souring,'* was sap- 
posed to improve the consistence of lime, besides 
reducing its causticity. 

The opinions of writers on art have been al- 
ready given. Modern authorities on the general 
nature of cements have also considered this ques- 
tion ; a writer of the last century, If although very 
much opposed to the practice of keeping lime to 
be used for building, admits that the process may 
be necessary for the due preparation of stucco. 
After repeating the reason for so keeping it usually 
given by plasterers, namely, the tendency of 
Fresh lime to blister, he adds, " it appears to mp 
that there is another reason, which the workmen 
do not notice, for their process. Lime soon im- 
bibes so much acidulous gas (carbonic acid) from 
the air, as to be increased In bulk and in weight (?) 
beyond the half of its former quantity ; aud a a 
stucco for inside work, for the sake of a fine grain 
and even surface, must have a greater quantity of 
lime in its composition than is necessary far 
cementing the grains of sand together, the incrus- 
tation would, by the access of acidulous gas after 
it is laid on, be apt to swell and chip and lose the 
even surface, if the lime were fresh when it it 
used in this excessive quantity. But this incon- 
venience is obviated by their processes, iu which 

* Aikin, ib. p. 142. t L. 7, C. 2. 

i L. 36, c. 23. § De Re Rustical, 1. 1, c. 14. 

j| L. 2, c. 11. Elsewhere, speaking of the preparation 
of the finest stucco fit to receive fresco-paintings, be 
merely observes, “ lime is not thought to lie sufficiently 
prepared in less than three month*. L. 6, c. ». 

% Higgin’s Experiments and Observations,&c., p. 41. 


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211 


the lima imbibes a considerable quantity of the t 
gas, and U therefore the lest apt to blister or | 
swell, after the stucco is laid on. M 

Recent authorities* merely state the fact that 1 
Hch limes can be kept in the moist state for any i 
length of time ;f the results, whatever they may < 
be, are not by them considered important. It i 
has been shown that these results are commonly 1 
Supposed to be, first, to render the lime mild, ana, 
next, to improve its consistence : assuming, then, 
that the effect of keeping pure lime in pits would 
be to promote the more perfect comminution of 
the particles, it appears that this result might be 
as completely attained by the method before 
described, commonly practised by the Genoese 
masons, namely, thinning the paste in water and 
pouring off the finer particles as soon as the 
coarser have subsided.^ The process is objected 
to by modern writers on eements for building pur* 
poses, § because it reduces the strength of the 
lime— in other words, renders it less caustic ; but 
this is precisely the further result, supposed to 
be attained by keeping the lime in pits. The 
method is thus doubly recommended to the fresco- 
painter. 

COMMUNICATION FROM DR. REID ON THE SAME 
SUBJECT. 

After the above investigation had been made, 
the following paper was communicated by Dr. 
Reid. It will be seen that the experiments pro- 
posed, in order to reduce the caustic quality of the 
lime, are founded on the same general principle as 
that already pointed out. 

In reply to the question proposed by me|| as to 
the possibility of preparing lime for fresco-paint- 
ing by a more speedy process than that which has 
been usually recommended, I have to submit the 
following remarks, — 

Lime can be rendered mild by numerous opera- 
tions with much more certainty and rapidity than 
by exposure to the air, or to slow action of air 
and moisture after being buried in the earth. 

Were the precise chemical condition of the lime 
known with minute accuracy, in so far as it is 
most advantageously employed for fresco-painting, 
a definite answer might at one be given to the 
question proposed. But this, so far 1 am aware, 
has not been tested with those advantages which 
modern science presents. And should this opinion 
be correct, an opinion, however, on which 1 wonld 
rather inquire for information than presume to 
offer it with my imperfect acquaintance with this 
branch of art, I should then consider it desirable 
to adopt the following course : — 

1. That a series of experimental trials should be 
made with lime prepared in various ways by che- 
mical processes, such as would afford at all times, 
and without delay, a material whose uniform tex- 
ture might always be depended on. 

Mixtures of fresh lime in minute quantity, with 
much carbonate, — of precipitated lime and precipi- 
tated carbonate,— of lime carbonated by exposure 
to steam and water with carbonic acid, and va- 
rious other mixtures, will at once occur to the 
practical chemist. Here it is to be observed, that if 
the lime requires to be fully carbonated, the car- 
bonate can be prepared in the most minute state 
of division, and in the highest purity, by rapid 
precipitation from solutions of lime, the cost of 
which would not be so great as to prevent their 
use for this purpose, as they might be formed 
partly by materials of which hundreds of tons are 
dissipated weekly in manufactories, from their 
being no demand for them. The carbonate might 
also be obtained from any limestone that might 
be preferred in a much more minute state of di- 
viaion than it is commonly reduced to, should 
chemical purity not be a special objeet, by adopt- 
ing some of the processes followed in manufac- 
tories for reducing solids to an extreme degree of 
comminution. But if, though much carbonated, it 
is essential tb&t it should not dc entirely c&rbouated, 
then the experiments proposed wUl solve the 
question as to the best proportion. This is, 
perhaps, the most important point to determine. 

2. That mixtures of various other ingredients 
should be tried along with the lime so as to ascer- 

* Vicat, ib. p. 18. 

t The hydraulic limes, on the contrary, soon harden, 
even in trenches.— lb. Smeaton kept blue lias lime 
dry, but well trodden down in casks, for seven years. 

% A process well known to chemists and others, under 
the name of “ elutriation.” 

| Vicat, ib. p. 15. 

U By a member of the Commission. 


tain if any peculiar combination of earths should | 
prove more favourable for fresco -painting. 

3. That experiments should be made also with 
the view of ascertaining the extent to whioh the 
retardation of the setting of the lime may be se- 
cured both by admixture and by the production of 
artificial atmospheres, so as to give more freedom 
to the artist in the execution of his designs. 

D. B. Reid. 

15, Duke-street, Westminster, April 16, 1842. 

PAPERS OP LATER DATE THAN THE 
REPORT. 

LETTER FROM THE RIGHT HONOURABLE THE 
SECRETARY OF STATE FOR THR HOME DE- 
PARTMENT. 

Whitehall, 25th April, 1842. 
Sir, — I have received her Majesty’s commands 
to notify to you, that her Mqjesty has been gra- 


to notify to you, that her Majesty has been gra- ' 
eiously pleased to approve the Report of the Com- 
mission on the Fine Arts § and her Majesty has 
directed the Lords Commissioners of the Treasury 
to submit to Parliament an estimate for the grant 
of £2000, to be given and distributed as premiums 
for the best cartoons, in the manner proposed in 
the Report. 

I have the honour to be, Sir, 

Your faithful servant, 

C. L. EastUke, Esq. J. R. G. Graham. 

COMMUNICATION FROM DR. REID ON THR FRO- 
BABLB EFFECTS OF GAS ON FRESCO-PAINTINGS. 

15, Duke-street, Westminster, June 10, 1842. 

Sir, — I have to acknowledge your communication, 
and forward accordingly the following replies to 
the queries you have addressed to me by command 
of her Majesty's Commissioners, as to the influence 
of gas, and of the products of its combustion oil 
fresco-paintings. 

1. In considering the influence of gas, I pre- 
sume that I need not advert to the effect of 
sulphur or ammonia, two impnritiea which gas 
frequently contains, as the entire exclusion of 
these impurities can be effectually secured by se- 
lecting proper materials for its preparation, or by 
such subsequent operations aa the quality of th6 
substance employed may indicate. 

2. According to the system proposed for using 
gas, which has always been advocated in connexion 
with the ventilating arrangements for the new 
Houses of Parliament, even were a leakage of gas 
to occur, this gas could not affect fresco-paintings 
there, whatever its quality might be, as it will 
instantly be carried off by the air-drains left for 
ventilating the gas burners, which will always be 
sustained in operation so as to guard against the 
ingress of gas, and also to prevent its local accu- 
mulation in case of leakage from any of the pipes. 

3. The removal of gas in this manner is greatly 
facilitated by centralising the burners. A aeries 
of experiments was made on this subject nine 
years ago in an apartment, 80 feet by 40, which is 
still lighted by the burner then employed, and in 
which a series of gas jets was introduced so as to 
form two circular wreaths of flame of different 
diameters, one being placed within the other. 
Three lithographic illustrations of aome of the 
burners used in tbe apartment constructed at 
Edinburgh, for the experiments on which the de- 
tails of the ventilating arrangements in the present 
House of Commons were founded, are given in a 
letter addressed to the Right Honourable the 
Viscount Duncannon, which was printed according 
to the order of the House of Commons in 1838, 
and to these I beg to refer, as they show precisely 
the system to which I have alluded. These figures 
(marked 12, 13, and 14,) show more particularly 
tbe method of constructing a Gothic pendant 
with an illuminated drop, from which the products 
of combustion are entirely removed, while the 
light is brought to act without offending the eye, 
upon the roof, the walls, and the floor. Similar 
arrangements have been adapted to the principal 
gas burners now in use at the House of Commons, 
where they are not received directly into the pre- 
sent ventilating shaft; and where powerful burners, 
such as Mr. Gurney employs, are in use, the 
stream of air that carries away the products of com- 
bustion will be proportionally rapid in its course. 

4. If arrangements be adopted which shall cer- 
tainly secure the removal of any gas which may 
arise from leakage of pipes, it is scarcely necessary 
to remark that there will be still less danger of 
any injurious action from the use of gas when it is 


actually burning, as the currents in the air-drains 

{ iroceeaing from the burners will then be in greater 
orce. 

5. Gaa may be used in many other modes so as 
to imitate the diffused light of day, and the pro* 
duets of combustion can be excluded as essentially 
in these cases as in the arrangements that have 
been mentioned. 

6. As it is obvious, accordingly, that the mois- 
ture and carbonic acid produced by the combustion 
of gas, and also any unconsumed gas, Can be 
effectually removed, no apprehensions are enter- 
tained as to any injury to fresco-paintings from 
the use of gas. 

7. It may be proper to add that in all galleries 
for works Art, where these have been injured by 
the state of the atmosphere, the principal causes 
of injury that have come under my observation are 
the following:— 

A. Mechanical or other imparities in the air, 
introduced in censeqnence of the supply 
being taken from an indifferent source, or 
not filtered by passing it through gauze. 
Tbe filtration of air is an important question 
in reference to works of Art in cities, where 
soot abounds in the atmosphere. It is an 
operation, however, which has been found 
very advantageous in numerous building* 
in London. At the House of Commons no 
air has been admitted since the alterations 
made there, in 1836, that has not passed 
through a filter, exposing about 400 feet of 
surface. It consists merely of a gauze veil, 
which intercepts the soot and other im- 
parities mechanically suspended in the air, 
to such an extent, that in extreme states of 
the atmosphere I have reason to believe 
that upwards of 200,000 visible particles of 
soot have been excluded by it at a single 
sitting. In tbe House of Lords, where the 
air enters more directly from the east, it 
has been found advantageous not only to 
filter the air, but also to wash it by the 
action of an artificial shower, through which 
it is drawn on its progress to the house. 

The air at a considerable elevation is much 
purer than the air at the surface of the 
ground ; and hence the Victoria Tower hat 
been suggested as a fit place for affording a 
proper channel for the supply of air to the 
new Houses of Parliament. 

B. The imperfect removal of moisture and car- 
bonic acid evolved during respiration, and 
from the combustion of lamps and candles, 
which condense subsequently during the 
cool of the evening, and evaporate again 
each successive morning with the returning 
warmth which accompanies it. Moisture 
and carbonic acid are not only injurious bv 
the chemical action they exert under such 
circumstances, and the mechanical abrasion 
that is consequently induced, but also by 
affording tbe pabulum, that is the great 
source of nourishment in the production of 
dry-rot, as it is observed in the wood-work 
of public buildings and private dwelling- 
houses, in canvass, paper, libraries, paint- 
ings, and in short in all textures derived 
from the animal and vegetable kingdom, 
particularly where this action is assisted by 
the warmth of combustion or respiration. 

C. The accretion of minute particles of dust, 
which, though they may be infinitely small, 
must necessarily in the course of time pro- 
duce injurious effects where the arrange- 
ments lor their exclusion are imperfect. 
But these are altogether trifling, compara- 
tively speaking, in their influence on works 
of art, when moisture associated with car- 
bonic acid is effectually prevented from 
being deposited along with them. In public 
galleries subject to the daily concourse of 
numerous individuals, tbe removal of dust 
from the floor may be most effectually se- 
cured by a process of ventilation which can 
be made to determine its exclusion, while 
in the movement of the air generally for the 
benefit of those assembled, the usual upward 
current which nature and experit nee equally 
point out as the most desirable, need not be 
reversed. 

1 have the honour, to remain, Sir, 

F Yonr most obedient Servant, 

I C. L. Eastlake, Esq. D. B. Reid. 


Digitized by 


.oogle 



212 


THE ART-UNION. 


VARIETIES. 


The Dulwich Gallery.— Our attention 
having been called to a report of a meeting, “ to 
facilitate the admission of the public to public 
monuments, 1 ' published in our last number, we 
have thought it right to institute some inquiry 
on the subject. At that meeting, it seems to 
have been stated by Mr. Angerstein, that “ the 
pictures in the Dulwich Gallery, notwithstanding 
it was much frequented, appeared to be greatly 
neglected, and were in consequence injured.” 
Now, it is our duty to give the most unqualified 
contradiction to this assertion 2 there is not the 
slightest foundation for it. Either our reporter 
must have been mistaken, or Mr. Angerstein 
must have obtained his information, by silly hear- 
say, from some person who was not actuated by 
a right motive. Sure we are, that he could have 
said nothing of the kind if he had seen and 
judged for himself, with his eyes open, his wits 
about him, and a disposition predisposed to 
truth. We- have ourselves, within the last fort- 
night, examined the collection with scrupulous 
care, and looked with suspicious caution into every 
one of the works deposited in the gallery. Seve- 
ral of them, certainly, bear tokens of the attacks 
of time ; but we do not hesitate to say, there is 
not a single one of the whole, which does not 
supply evidence that an intelligent mind, an ex- 
perienced judgment, and a careful hand, have 
been long active, to arrest the progress of the 
destroyer, and to repair the inroads he has made. 
This is so evident, even to the most casual ob- 
server, that we marvel at any person’s so com- 
pletely departing from integrity, as to venture 
an assertion, or an insinuation, to the contrary. 
In one or two instances, ignorant visitors may 
Imagine that certain defects may be the results 
of carelessness, — for example, in the famous 
* Flower Girl,’ of Murillo, the canvass all round 
the picture is cracked ; but this arises from the 
fact, that the parts so injured occur upon inferior 
canvass, that lias been added to the original can- 
vass to increase its size. We rejoice, indeed, to 
find, that the keeper of the gallery has not been 
labouring to content and gratify a mass of stupid 
observers, by glazing highly the works in his 
charge, in order to make them look fine for a 
season ; but we know that he has daily watched 
the progress of decay, so os to arrest it in the 
safest and most satisfactory manner. We have 
conversed with several artists who remember the 
state of the pictures a few years ago, and who 
bear the strongest testimony to their present im- 
proved condition. The abilities of the keeper, 
Mr. Denning, are well known ; there can be aud 
there is no question as to his skill and know- 
ledge ; few members, if any, of the profession, 
are better capable of keeping this valuable col- 
lection in good order. It is not his ability, there- 
fore, but his honesty, that is attacked, when it 
is asserted that the pictures “ appear to be greatly 
neglected, and, in consequence, much injured.” 
We do not hesitate to say, it is impossible for the 
charge to be sustained by the evidence of a single 
upright and competent judge in the kingdom.* 
The contrary is proved, not only by the existiug 
state of the collection, but there is no gallery better 
“ ventilated,” or “ heated” upon safer scientific 
principles; a matter of vast importance, when 
we recollect the low and damp situation in which 
the gallery stands. People who desire to attain 
an object, sometimes overshoot the mark. It 
will be well to remind “ The Society for Facili- 
tating the Admission of the Public to National 
Monuments,” &c., that although the Dulwich 
Gallery has always been free to the public, the 
gallery is not the national property, and that 
the trustees might, if they pleased, demand pav- 

* Within the last month, indeed, the President and 
Council of the Royal Academy have paid their annual 
visit to the Dulwich Gallery— the purpose of such visit 

1 being to ascertain the state of the pictures, and whether 
the keeper justly discharges his duty. It is scarcely 
necessary to add that their report differs essentially 
from the report attributed to Mr. Angerstein. 


ment from every person who seeks to enter it. 
The will of the testator, Sir Francis Bourgeois, 
expressly providing, that the pictures shall be 
“kept and preserved for the inspection of the 
public, upon such terms, pecuniary or otherwise, 
at such time or times in the year, day or days 
in the week, as they may think proper.” 

The Patent Stucco Paint Cement. — A com- 
position of very extraordinary and most valuable 
properties is at present under this name attracting 
the attention of speculators in the improvement 
of architectural material. To describe in half a 
dozen words the result of its application to the 
fi^ade of a building— it may at once be said to 
assume the appearance of the most carefully 
dressed freestone — when employed according to 
the prescribed directions. So perfect is the re- 
semblance, that it would deceive an experienced 
mason ; in short, as sand, the main component of 
freestone, constitutes a great proportion of the 
material in its application, we may say that it is 
the formation of freestone — the result of a che- 
mical combination surpassing the effect of the 
chemistry of nature in this instance, inasmuch as 
freestone readily yields to the action of hard bodies, 
but this composition is of a more stubborn texture. 

4 ‘ This Paint Cement ” in colour is of the tone of 
cream, and of a consistency somewhat more dense 
than colour prepared in the usual way for house- 
painting ; and it is applied to surfaces after having 
been mixed with sand in the proportion of one 
part to three parts of the latter, or say of 1 cwt. 
of the paint to 3 cwt. of sand. After this simple 
preparation it is applied by the plasterer with a care 
proportioned to the kind of surface required. With 
respect to the surfaces to which it may be applied, 
there is no necessity for any degree ot roughness ; 
for so powerful is the adhesive nature of the base 
of the composition that it attaches itself to glass 
with apparently the same tenacity that it would 
adhere to a rougher substance. It can be applied 
to fronts of brick or any other material, and of 
any degree of thickness, although of course upon 
rough surfaces there must be more of the material, 
in order to secure uniform smoothness ; and with 
respect to expense, we are assured that the cost of 
thus converting a brick house into a stone one 
would be somewhat about two shillings per square 
yard. This valuable invention is the patent of 
a company of gentlemen at Plymouth, who have 
during some years tested the value of their compo- 
sition before offering it to the public ; the firm is 
known as Messrs. Johns and Co., whose sole agents 
are Messrs. Mann and Co.. 5, Maiden-lane, 
Queen-street, Cheapside. To architects, builders, 
contracters, &c. &c., it is recommended as posses- 
sing these qualities : — 

1. Its strong adhesive properties fixing most 
tenaciously to the smoothest surfaces, even to 
glass. 

2. Its being highly repellant of water, and t ho- 
roughly impervious to wet or damp. 

3. The chemical peculiarity of its composition 
does not admit of the possibility of its vegetating , 
and thereby becoming discoloured. 

4. The safe and gradual rapidity with which it 
dries; hardening the more by the greater exposure 
to the atmosphere . 

5. Its perfect freedom from any of the caustic 
qualities of Lime Stuccoes ; and, consequently, 

6. It may be painted npon as soon as dry ; a 
property possessed by no other cement whatever. 

7. It is not in the slightest degree affected by 
frost. &c. &c. 

A New Easel. — We have been much gratified 
by the inspection of an easel upon an improved 
principle, brought forward by Messrs. Winsor and 
Newton, of Rathbone-placc. An easel upon the 
principle of this we are about to describe was 
formed by M. Bonhomme, of Paris, which gained 
for him a prize at the exposition of inventions, as 
also, we believe, the patronage of, and a premium 
from, the King of France. But the construction 
and improvements in the easel which we have 
seen are almost sufficient to claim for the pro- 
prietors a title to invention. Among the ad- 
vantages it possesses over the common peg or 
rack easel, are two very important ones : it is 
comparatively small, but is capable of receiving 
any sized canvass, up to a Bishop’s full length, 
and is so entirely under command, that the 
artist can lower or elevate his work, so as to 


[Sept., 


reach at convenience any part of it ; a picture 
can also be inclined forward, a position often de- 
sirable for advantage of light. This cannot be 
effected on the ordinary easels ; but by means of 
a cord and a spring bar, the inclination can be 
steadily and accurately adjusted to any angle 
desired. It is a matter of continual complaint, 
the difficulty of raising or lowering a large can- 
vass. On the common easel, to support the 
picture, and at the same time move the pegs, are 
more than one person can conveniently effect ; 
but this, together with the ordinary incon- 
veniences, this easel obviates. Its advantages 
are also great as an exhibition easel, for paintings 
can be so disposed on it, as to display them in 
almost any light. 

Leather Imitation op Carving. — The 
process of blocking leather into singularly-ef- 
fectire imitations of carving, patented by Mr. 
Leake, 52, Regent-street, has been already briefly 
described in a previous number. We have had 
an opportunity of inspecting some panels (if the 
compartments may be so termed), executed for 
H. R. H. Prince Albert, after original carvings 
by Albert Durer, the property of his Royal 
Highness. It is impossible to conceive, in feeling 
and colour, a more perfect imitation of ancient 
sculptures in wood than is presented in these 
mouldings. Her Majesty has commanded a 
cabinet, with enrichments, after carvings of the 
most beautiful design and execution ; as also, 
patterns in the mauresque and renaissance tastes, 
for hanging rooms. The latter are gilded, and 
coloured in tones the most brilliant and delicate 
that can be communicated to any substance. 
The process by which these designs are produced 
is novel and ingenious. Leather to be employed 
for the purpose is first subjected to the action of 
steam, or hot water, in order to reduce it to a 
i workable consistency, which it acquires by being 
reduced to a substance resembling gelatine ; it 
is then, by air or hydraulic pressure, forced into 
the mould, where it assumes all the sharpness 
and determined prominency of carving, and even 
the texture of any grained wood, whence the 
original design might have been taken. Leather 
is by no means a novel decorative appliance, 
but its uses have never been developed to the 
extent that Mr. Leake has carried them. It is 
known to have been anciently used for hangings 
and furniture, but it has never been used as 
a means of producing imitative carvings, 6am, 
and even alti-relicvi. In Spain and Italy, the 
method of imparting the design was by common 
pressure, producing it in relief on the surface ; 
it has also been imprinted in intaglio, but by 
this method the surface is left comparatively poor. 
By means of additional forms and recipients, 
figures were sometimes projected to basso-relievo, 
but little beyond this was anciently done in this 
material. The proprietors, however, of this 
patent have so far perfected the application of 
leather to decorative furniture, that not only can 
they produce designs in high relief, but would 
even undertake to execute busts in leather. 
Their experiments have been so extensive, as to 
have tested the qualities of every kind of elastic 
matter at all likely to be valuable for such a 
purpose. India-rubber did not escape their re- 
searches, but from its extreme tenacity it was 
found impossible to mould it into any permanent 
form. From what we have seen of these beautiful 
productions, we conceive them to be applicable 
to enrichment of every kind to which carving 
has hitherto been applied; and the coloured 
Elizabethan and renaissance designs, are in effect 
equal to the best of the Tudor period in England 
aud the age of Francis the First in France. 

Wilkie’s Works. — The exhibition of the 
works of the late Sir David Wilkie, at the British 
Institution, closed on Saturday, the 27th August. 
As usual of the works of old masters, a certain 
number will be left for the students to copy. 


sosgle 


1845 .] 


THE ART-UNION. 


213 



THE ART UNION OF LONDON. 

Thk sixth annual Report of this Society has been published. We have already so 
sufficiently canvassed it, as to render it needless to occupy much space in considering 
it now. We shall have, however, some observations to make upon it ere long ; and 
some suggestions which we shall offer — with all due respect — to the committee by 
whom it is managed. Hitherto, they have done well— the word is too weak a word 
for our purpose — but it by no means follows that they may not do better ; no human 
institution has ever been incapable of improvement. 

The printed report contains three engravings on wood ; these we have borrowed for 
introduction into our columns. The subject is thus referred to : — 

11 Your committee, wishing to obtain an appropriate device to head the society's 

S apers, offered a premium of 10 guineas for a design in outline. More than 100 
rawings were submitted, and from these vour committee selected one which was 
afterwards found to be by Mr. F. R. Pickersgill. The subject of it is 4 Minerva 
encouraging the Sister Arts.' 

" There were amongst the drawings several other very excellent designs, and 
your committee, desirous of rendering the annual report interesting to the sub- 
scribers generally, and so inducing its preservation as a record of the society’s 
operations, as well as to aid* although slightly* the art of wood-engraving, selected 
two other devices, which* by the kind liberality of the authors of them, they were 
enabled to engrave for its adornment. 

14 The second is by Mr. Selous, and represents 1 Genius nurtured in the lap 
of the Society.' The third is by Mr. Bonorai, and is described as 4 Minerva re- 
plenishing the lamp of the Genius of Art.' The three are ^engraved respectively by 
Mr. Williams, Mr. Jackson, and Mr. Orrin Smith." 

The prizes* amounting in number to 269, are now exhibiting in the rooms of 
the Society of British Artists. The exhibition is not only free to all members, but 
each member has received a ticket to admit four friends ; so that it is by no means 
improbable that 60,000 or 70,000 persons will have examined the collection. This 
is in itelf a vast advantage to the Arts, and to the artists also; for the works 
of many of them are here seen to great advantage that were completely hidden from 
the eye in the galleries from which they have been selected. In the greater propor- 
tion of them we recognize familiar faces ; but with some — and not a few — we make 
acquaintance for the first time ; and if we had not been this month more than usually 
pressed for space, we should bring under review such as we have not already noticed. 

The collection will undoubtedly gratify the thousands who may see it, and is, on 
the whole, satisfactory— as affording evidence that the selection of the prizes has 
been generally dictated by sound sense and good taste. Out of the number there are 
certainly not above a score that can be characterized as discreditable a matter of 
astonishment when we recollect that among the prize-holders there will of necessity 
be many who have hitherto known little and carea less about works of Art. A vast 
proportion of the pictures are such as might be coveted by persons of refined judg- 
ment. There is one of the prizes upon which we desire to offer a remark. We 
rejoice that Mr. Frith's painting, 44 from the Vicar of Wakefield,” is in the possession 
of a kindred spirit. It was selected by Mr. Z. H. Troughton, whose powerful and 
beautiful tragedy of 44 Nina Sforza” ranks among the most meritorious and successful 
of modern dramas. It was just the choice we should have expected from him. 
The painter is fortunate in falling into such hands ; and the poet is lucky in possess- 
ing a work of very rare merit, by an artist who cannot fail to become very famous ere 
long. There are certainly a few cases, in which we regret that prizes did not fall to 
the lot of persons equally capable of judging rightly ; but upon these it is not 
necessary to remark. After all, people will please themselves ; and the buyers of 
pictures through the Art-Union are not the only buyers of the year who have paid 
money for things of little or no value. 

While, however, we express ourselves content with the selection generally* we are 
by no means disposed to admit the accuracy of an assertion in 44 the Athensum,” 
that — 

44 The pictures selected by the holders of the Art-Union prizes are now in course of ex- 
hibition, and offer a very comprehensive text to any one who desires to write a treatise on the 
state and prospects of painting in this country.” 

This is disingenuous, to say the least. It is notorious that* of the productions of 
our leading British artists— of the men who enable ns to judge correctly as to 44 the 
state and prospects of painting in this country”— there were none/or tale at either of 
the exhibitions out or which a choice wa9 to be made. When, therefore, persons 
look round the walls of the Art- Union Exhibition Room, and ask — as we know 
persons have asked— where are Eastlake, Maclise, Leslie, Mulready, Turner, E. 
Landseer, and so forth, they must be reminded that every work by these artists 
had been sold previous to opening the gallery of the Royal Academy. 

We also perceive in one of the morning papers an intimation that 44 this year fewer 
pictures than usual have been sold”— the object being to show that if the Art-Union 
is the means of selling pictures, private buyers have become less numerous in pro- 
portion, and that in reality the sales are not increased. Nothing can be more erro- 
neous. On the contrary, it is certain that at all the exhibitions the number of works 
purchased has been unusually large, exclusive of the immense sum — a sum of nearly 
£30,000 — 44 thrown into the market” by Art- Union Societies. 

The Committee of the Art- Union have thus terminated their year's labour. We 
should be ungrateful, if we did not convey to them the thanks of the profession, 
whose interests they have so greatly promoted. Their work was undertaken, and has 
been carried out with the most disinterested spirit. They have laboured, not only 
without fee or reward, but even without the shadow of other recompense, than that 
which arises from the consciousness of having done good. We could tell them of 
some households to whom they have brought a cheerful present and a bright future. 

And now for the efforts of another year. As we have intimated, we shall venture 
to suggest some changes, which to us will seem improvements in the constitution of 
the Society : they will regard, chiefly, the mode of selecting the larger prizes, the 
wisdom of invigorating the committee by an infusion of new blood, and the project 
for multiplying copies of the engravings. With respect to the latter, there does 
appear to us to be very considerable difficulty; we fear much that the 44 application of. 
science” will be a, failure, and that the 12,000 subscribers will certainly not obtain 
12,000 44 decent” impressions of the plate. But let the experiment succeed or fail, 
perhaps it was the duty of the committee to try it. 



214 


THE ART-UNION. 


[S*FT. # 


BIRMINGHAM SOCI ETY OF ARTS. 

The professional and unprofessional fo&nbers of the 
Birmingham Society of Arts have separated ; and, we 
fear, with little chance Of their again meeting. The 
fairest way in which we can act, in reference to both of 
them, is to print the explanatory documents issued by 
each. We lament greatly that this division has oc- 
curred ; good cannot come out of it. We feel that any 
Remarks of ours, under existing circumstances, could 
do no service— and shall postpone them until all rea- 
sonable hope of reconciliation has vanished. Our com- 
ments might contribute to prevent this most desirable 

consummation and it is, therefore, better that we 
leave the reader— for the present, at least— to judge for 
himself. 

The following is the address of the " unprofessional” 
committee to the members and the public. 

.. Unprofessional Committee feel it incumbent upon 
them to address the donors and subscribers, as well for 
toe purpose of explaining the alteration in the manage- 
ment, as for putting in its true light the conduct of toe 
professional body since the special general meeting. 

“®<fed usefulness of tne Academy, and the mis- 
chief resulting from the Society’s being managed by 
two separate bodies, led the subscribers’ or unprofes- 
sional committee to consider a remedy. 

. V? March 1843, the committee prepared a memorial 
toGovernment requesting aid in promoting the forma- 
an e ® c * ent school of design. The shortness of 
the time prevented its being laidbefore the professional 
f WM B obmittea to their chairman, and by 
©wdiaUy approved. A grant of money Was pro- 
mised on condition of a sum at least equal being 
F u *r^ nte ®5 b y th « subscribers for three years certain.’’ 
jrS .J rtringent condition, and the experience of the 
difficulty of managing the Society by two separate 
bodies, led to the consideration of a plan by which all 
the advantages of the artists’ co-operation could be ob- 
obriated^ 11 ^ ***** erlli a management 

A plan embracing these objects, and approved with 
one exception by the whole of the unprofessional com- 
mittee, was snbmitted to the artists, but after a very 
lengthened correspondence they refused their concur- 
rence. They strenuously resisted the management by 
a tingle committee, and required that the school of 
design should be conducted upon principles to be 
sanctioned by them. 

Three months were consumed in this interchange of 
written communications. The whole body or the 
Society of Arts was then assembled in the manner pro- 
vided by the laws, on the 12th of July last. The 
artists denied the competency of the meeting to enter- 
tain the propositions, on the ground that they had not 
been approved by themselves. Dissatisfied with the 
decision of the meeting on this point, thay immediately 
withdrew. The meeting then passed a law authorizing 
tne management by one committee composed of sub- 
scribers and artists. 

The proportion of seven artists to fourteen sub- 
scribers was assigned because it was the proportion 
proposed by the artists themselves, in 1828, and also 
because toe committee conceived that as the responsi- 
bility to Government would rest upon the subscribers 
alone, they therefore were entitled to the larger share 
in the controul. The seven artists were members of a 
permanent body, whose whole number of resident 
members i does not exceed fourteen. The circumstance 
of their being bound together by a peculiar interest, 
and, practically, the perpetuity of their appointment in 
comparison with that of the subscribers, who are 
changeable every year, render the appointment of 
power lest unequal than the arithmetical numbers 
express. 

On the 14th of July, the unnrofessional committee 


On the 14th of July, the unprofessional committee 
requested the professional committee, “ As the prepa- 
rations for the Annual Exhibition had been so long 
delayed, to meet them on the 16th on that business. 

re Pb*d that “ they respectfully decline doing 
JJ* * ***e committee, stating their opinion 

that it is desirable to have the Animal Exhibition as 
early as possible,” request the artists to say u whether 
they concur, and whether they intend to give their co- 
operation aa heretofore in making the necessary pre- 
parations.” The professional committee in reply state 
on the 17th of July, that they “ regret that the time for 


event of the special general meeting coming to what 
they deemed a just decision upon the question pending 
between them, to bare redoubled their exertioua to 
have repaid the damage caused by such delay;— the 
decision of the special general meeting has determined 
them to take no part in the preparation referred to.” 

Upon tne receipt of this, the committee determined 
upon having an exhibition of the works of deceased 
masters (six years having elapsed since the last) sad 
proceeded to make arrangements for that purpose. 
Desirous however of coming to a clear understanding 
with the professional body, the committee wrote to 
them on the 23rd July, as follows ;— “'Hie professional 
committee haying on the 15th of July declined to meet 
the unprofessional committee on tlie subject of the 
annual exhibition, and having subsequently refused to 
co-operate in the preparation! for such exhibition, and 


this committee deeming it absolutely necessary to 
make a direct application to the profeaaional com- 
mittee, to ascertain whether this committee is correct 
in assuming that the professional members have with- 
drawn from the Society of Arts, Resolved— that the 
Honorary Secretary transmit a copy of this minute to 
the Chairman of the professional committee, with a re- 
quest for an early and explicit answer,” This was for- 
warded the same day, but notwithstanding particular 
and repeated requests for an early answer, it was toe 
38th before the following was received. 

“ At a meeting of the Artists, held July 27, 1843. 

“ The minute or the unprofessional committee of the 
Society of ArU,of the 33rd instant having been read— 

“ Resolved— That it ia the opinion of this body, that 
the unprofessional committee (as such) have no right 
under the existing laws of the Society to require an 
answer to the question contained in the minute re- 
ferred to, and that the artists beg most respectfully to 
decline any reply. 

“ Resolved— That in forwarding the above resolution 
to the unprofessional committee, this body disclaims 
all want of respect or courtesy to the unprofessional 
committee, and regrets that existing circumstances 
prevent any other course being taken. 

f< Pets a Hollins, Chairman.” 

At a meeting of the unprofessional committee, held 
August 3rd, 1842, sell cular letter of which the follow- 
ing is a copy, having been laid before this committee,— 

" BIRMINGHAM SOCIETY OF ARTISTS. 


minghtm manufactures. To this collection of casta, 
&c., valuable additions have since been made. 

With the exception of the Anatomical lectures that 
have been delivered by Mr. Gntteridge, since 1831, and 
attendance from time to time by members of the pro- 
fessional body for the last few years in the Antique 
Academy, the founder's plan was never realized. Ex- 
hibitions, to a means of improving tbe taste of the in- 
habitants, became a special object of the Society's 
attention, and in 1830, jtSOOO were expended in new 
buildings chiefly for this purpose. 

Aa respects the purposes of the founders, they sntief- 
pated by fifteen years the Government grant in aid of 
schools of Design. When, in 1830, Parliament feat 
voted money for this purpose, a slight effort was made 
to obtain a portion of it, but the application was not 


prosecuted. It remains therefore yet to obtain for Bir- 
mingham systematic teaching of Art, by a competent 
professor, with special reference to manufacturers. 
Through the aid of Government and tbe continued sup- 
port or the subscribers this may shortly be accom- 
plished, and justice done to the enlightened aim 
generous purposes of the founders— some of themMt 
effective patrons of Art and earnest promoters of toe 
welfare of Birmingham. 

The subjoined extract of a letter from Lord Wen lock 
will form one of the best justifications of the committee 
that can be advanced, supported as it has been by the 
yearly gift of ^35 as a prize for modelling, by this 
lamented nobleman to the end of his life, and continued 


“Sia, July 33rd, ll43. to the present time by his brother, Sir Francis Lawley, 

" I am requested by the Birmingham Society of but which— though intended expressly for the en- 
rtists to solicit a continuance of your support to their couragement of a branch of Birmingham manufiac- 


Artista to solicit a continuance of your support to their 
annual exhibition. 

“ I deem it necessary to inform yon, that tbe artists 
have seceded from the Society of Arts, in consequence 
of the arbitrary proceedings of the unprofessional 
committee, particulars of which will shortly be pub- 
lished. 

u The Society's agent, Mr. Green, 14, Charles-atreet, 
Middlesex Hospital, will collect, pack, and forward to 
Birmingham, works of Art until August 20th. the 
expenses of which will be defrayed by the Society in all 
cases where this circular haa been addressed, with the 
usual deduction of carriage for those sold. 

“ I have tbe honour to be, 

“ Sir. your obedient servant. 

“ Peter Hollins, Chairman.” 

u It was resolved— That the unprofessional committee 
of the Birmingham Society of Arts feels called upon to 
express its deep snrprize and disapprobation at the 
conduct of the professional committee in having com- 
municated resolutions to this committee, apparently in 
their capacity of the professional committee of the 
Society of Arts, and in reply to a communication ad- 
dressed to them as such, while they had previously 
drawn up and were circulating ia London a paper 
signed by their chairman, in which they* by requesting 
a continuance of support to what they improperly term 
their annual exhibition, assume tbe character of still 
being the representatives of tbe Society they had 
belonged to— seek unconrteously to prejudice this 
body m the eyes of the usual contributors to the exhi- 
bition, by accusing them of arbitrary conduct without 
entering into particulars of tbe charges, or giving them 
notice of their intention to bring it forward— and state 
that the artists had seceded from the Society, while 
they were opening, considering, and answering com- 
munications addressed to them as members forming 
part of it. 

“ Resolved— That until the conduct set forth in the re- 
solution of July 27th is satisfactorily explained, they 
cannot, in honour, bold communication with the pro- 
fessional committee, beyond what the laws indispensa- 
bly require.” 

One of the artists has already, in most express terms, 
disavowed to the committee all participation in the con- 
duct here referred to. 

The committee print these extracts of the proceed- 
ings, snd the letter, to show that they used every 
means to insure the co-operation of the artists in th# 
annual exhibition ; and that tbe subscribers may judge 
whether the committee’s "proceedings” have been 
11 arbitrary.” also, that it may be seen who is charge- 
able with the delay ; and that the subscribers may esti- 
mate the "courtesy” and the sincerity of the pro- 
fessional gentlemen. 

Tbe committee in speaking of the members of tbe 
professional body of the Society of Arts— a body, 
twenty-four in number, self-elected, and ten of whom 
are not resident in Birmingham— have for brevity’s 
sake called them " the artists 1 ” it must however be 
understood that they constitute only a small propor- 
tion of the painters, architects, designers, engravers, 
medalists, die-sinkers, modellers, carvers, and chasers, 
who form the artists of Birmingham. Tbe committee 
desire it also to be observed that so far from being un- 
mindful of whatever services the professional gentle- 
men, connected with the Society of Arte, have rendered, 
they have uniformly acknowledged, and to the utmost 
extent of their ability, compensated them. 

In conclusion, the committee request the subscribers' 
attention to a cursory review of the history of the So- 
ciety. It was founded in 1831, "for the encourage- 
ment of Arts and Manufactures.” Many noblemen and 
opulent gentlemen contributed largely to its funds. 
The late Lord Wenlock (then Sir Robert Lawley) pre- 
sented a very valuable collection of casta of sculpture, 
and warmly advocated the establishment of a professor- 
ship, for teaching Art with express reference to Bir- 


couragpment of a branch of Birmingham manufac- 
turers— has been diverted from that object these seven 
years, and given to the artists who have periodically 
superintended the studies of the pupils in the Antique 
Academy. 

From Sir Robert Lewie* to J. W. Unett y Bee , Hon. 
Secretory. Dated Florence , October 11, 1821. 
******* 

"I shall be obliged also to you to inform the com- 
mittee for the establishment of an exhibition of Fine 
Arts (and upon which subject you wrote me some time 
since), that I consider it as the most essential and 
necessary part of such establishment— tbe formation of 
a general school for drawing and modelling under the 
direction of an able professor. That my unalterable 
opinion ia that, unless such a measure be adopted, the 
whole plan is nugatory and useless. And that I shall 
not think myself 7n the least bound to proceed with my 
contributing other casts than those already sent to it, 
unless that the first and most essential part of my 
scheme submitted to them be folly adopted. I have no 
person whom I now can recommend. It appears to 
me the best way, to select some young man of talent 
and genius from the Royal Academy of London, and 
to send him to Italy to perfect himself. If this ia con- 
sented to, I desire you put my name down to an annum 
subscription for jt3Q for such an object. The young 
man may be sent tome: I will undertake to attend to 
his instruction, andhe shall be accommodated with apart- 
ments in my house and maintenance at my table ; ao 
that a very small salary will be sufficient to any enter- 
prising youth who would be too happy to find aoch an 
opportunity of instruction. And by pursuing this my 
plan, the manufacturers of Birmingham might be pot 
upon a peace establishment, and furnish the foreign 
markets, from which they are annually becoming more 
excluded. I hope this will be attended to. I have no 
personal view in proposing to tbe town of Birmingham 
so important a plan : tbe only view I have it, the in- 
troduction of just taste and solid principles in too 
shape and construction of their articles ; in which at 

I iresent they are miserably deficient. If the town, 
oaing this opportnnity, rejects my advice, I do not con- 
ceive that any other ia likely to be offered to it ; nor 
will they easily find any gentleman so willing, and I 
may say so able, to cany this plan into effect aa 
my self. ,r 

William Phifson, 

Chairman to the Committee. 
Birmingham, August 4th, 1843. 

SOCIETY OF ARTISTS. 

The following is the address of tbe "profeestonaP 9 
members, in reply 

The "unprofessional committee” of the Society of 
Arts having published a circular containing some very 
unjustifiable imputations on tbe conduct of the Artists 
who formerly constltoted the professional members 
of that Society, the artists feel it due to themselves to 
enter into a full exposition of the circumstances attend- 
ing the recent dismemberment of tbe Society, aa they 
are equally anxious with the ‘‘ anprofesakmal com- 
mittee/’ to put “ in its true light ” the conduct of both 
professional and unprofessional bodies. 

Previously to the year 1830, circumstances, not 
material to the present subject, had caused the esta- 
blishment of two Societies for the encouragement of 
the Arts, in Birmingham, the one called the Society of 
Arts, tbe other, the llinningham Institution. On the 
3nd of January in that year, the two Societies were 
incorporated under the circumstances and provisions 
stated in the accompanying paper. It was then agreed, 
and was indeed the fanmuoenUl law of their union 
(as expressed by laws, 1, 2, and 6), " that the Society of 
Arts snail consist of two distinct bodies, professional 
and unprofessional, with equal authority.” The pro- 


Digitized by V 


J^JWLKL 

O 



1842 


THE ART-UNION 


215 


tasionfcl body consisting of artists, colled members of 
tbe Society, acting independently m s body, sod 
subject only to their own bye-laws. Tbe unprofessional 
body consisting of donors aad annual subscribers, 
acting by a committee of their body annually chosen. 
And by law 16, it was further specially provided, “ that 
no mtasore shall be passed in a general meeting, unless 
previously approved of by both those bodies.” 

It was on these laws, thus specially framed, that the 
professional members took their stand in the recent 
discussion between themselves and the unprofessional 
committee. Convinced of the impolicy of the change 
proposed, as well as of the utter want of necessity for 
such chancre, merely to accomplish the object which 
tbe unprofessional committee professed to have in 
▼lew, the professional members claimed to exercise the 
pto conceded to them by the constitution of the 
society t and they confidently refer to tbe report of a 
select committee appointed on the occasion before re- 
ferred to, in 1830, to prove that their claim is neither 
new nor unreasonable. That report, Sanctioned at the 
time by Mr. W. Phipeon himself, states that “with 
regard to the new laws and regulations now presented 
to tbe committee, the deputation [1. e. tbe select com- 
mittee] feel it right to remark, that they are framed on 
tbe principle of giving equal power to the artista and to 
tbe pecuniary contributors. Tbe deputation cannot 
doubt the propriety and jnstice of this principle. * * 
* * * The great popularity of the Society, subse- 
quent to this period (1896), and its increased receipts, 


tbe establishment of exhibitions, and to the exertions 
of the artista, which have excited correspondent efforts 
on the part of the unprofessional committee ; and since 
H appears certain, that but for those exertions, tbe 
Society, if in existence, would not at this time have 
possessed funds sufficient to accomplish the original 
objects of its liberal founders, the deputation observe, 
that these objects can be attained only by an arrange- 
ment which secures the permanent support of tbe 
resident artists.” 

For twelve years the Society of Arts has continued 
increasing in prosperity and in efficiency, and, more 
than all, in the respect and esteem or the public. 
'Within the last few months, however, the artists hare 
been surprised to hear complaints of “ the limited use- 
fulness of the Academy, and the mischiefs resulting 
from the Society’s being managed by two separate 
bodies,” which it was forthwith proposed to remedy by 
re-oiganJzing the Society and utterly annihilating the 
powers of the professional body. For themselves tbe 
artists deny that any mischief has resulted at ail, but 
taore especially, if it did arise, that it wu in any way 
attributable to them ; and they would also remark, 
that, as at present appears, it is a mere assumption of 
tbe unprofessional committee, and altogether unsup- 
ported by any one specific fact. 

As respects tbe Academy, however, the professional 
members of the Society or Arts had long been aware of 
and lamented ita “limited usefulness.” The Academy 
(or antique school) would accommodate only about 90 
pupils, which was the number registered in the late 
Society’* books. Until the year 1835 the School was 
superintended by the different members of the body of 
artista in succession gratuitously j but in the course of 
that year, by the intervention of the Hon. Sec. Mr. 
Unett, the Lawley prise of jg23, which had been for 
some years dormant for want of competition, was, with 
the concurrence of Sir Francis Lawley, assigned to the 
artista as an acknowledgment for services in tbe school 
which the Society itselr had no funds to remunerate. 
In the mean time also, as stated in the circular of the 
unprofessional committee, in the year 1836 an effort (in 
which a member of the professional body was the chief 
agent) waa made, to obtain a portion of a parliamentary 
grant, then voted for such purposes. That gentleman 
was informed by Lord John Russell, that the graot waa 
intended exclusively for the Metropolitan Schools, and 
on that account alone, therefore, “ the application was 
not prosecuted.” 

Limited however as their means were, tbe artists 
hate the satisfaction of referring back to the terms in 
which the Academy itself was spoken of, and their 
services from time to time acknowledged, in tbe 
annual reports of the Society. They are thus recognized 
In the very last report presented to subscribers in 
March, 1841:— “The Society has directed its energies 
to the promotion of tbe study of Art in the higher de- 
partments, and alto to its application to the practical 
purposes of this manufacturing community. * * * * 
Thus has been laid upon the most solid foundation, a 
school for the profitable study of Art.” And subse- 
quently it is admitted that “the students of the 
Academy, now more numerous than at any former 
period, have entitled themselves by their acquirements 
and general demeanour to praise) tbe diligence and 
solicitude evinced by those members of tbe professional 
body who have had the superintendence and direction 
of their studies, has been such as to recommend them 
in an especial manner to tbe approbation of tbe sub- 
scribers.” Nor were tbe praises undeserved. The 
artista refer with pride and satisfaction to tbe nnmber 
and talent of those among the students who have 
already attained high rank in their respective branches 
of the profession; whilst a very numerous body of 
resident Medslists, Die-sinkers, Modellers, Engravers, 
Carvers, Chasers, and Japanners, are profitably punn- 
ing their various avocations in the town, and contribut- 


ing by tbetr taste and skill greatly to the cuperioty of 
ita manufactured articles. 

Tbe artista nevertheless continued to direct their 
serious attention to tbe adoption of tbe beat means in 
their power to increase tbe efficiency of their school. 
So far back as January, 1841, they submitted to tbe 
unprofessional committee “A plan for the extension of 
the School of Design, including Elementary Drawing of 
every description, Perspective and Geometrical Draw- 
ing, fee.” and also for improving the academy, by the 
addition of casta of the most celebrated and beautiful 
ornaments, candelabras, and vases, from the earliest 
period to tne present time. This plan was estimated to 
require an additional expenditure of *100 per annum 
only, and having been laid before the general meeting 
of that year, was by it again consigned to the unpro 
fetsional committee, to be acted on or not at tneir 
discretion. The professional members of this Society 
more than once reminded tbe unprofessional committee 
of these suggestions, but they raceived no answer until 
March 1849, when they were for the first time made 
acquainted with the feet of an application for a grant 
from the Queen in aid of a School of Design, accom- 
panied by an intimation, that it was intended also to 
propose, “ that the regulations of the 8ociety must 
thenceforward necessarily rest with the subscribing 
members alone.” 

To this proposition the Artists at once demurred, 
and conveyed their opinions to the unprofessional com- 
mittee in the following resolution t—“ That this com- 
mittee cordially {oin with the unprofessional committee 
in grateful acknowledgments “ to Her Majesty’s 
Government, for tbe offer of a grant in aid of the 
School of Design, and are willing also to unite and pro- 
mote to the utmost extent, the object of socb a grant, in 
accordance with tbe spirit of tbe memorial, ana consist- 
ently with tbe laws or this Society, but this committee 
is of opinion, that as a necesaary consequence of the 
acceptance of the grant, the alterations in tbe laws 
proposed by tbe unprofessional committee Is uncalled 
for, and would, if carried into effect, be injurious to the 
beet interests of the Society.” 

Notwithstanding, however, that the professional 
members thus “strenuously resisted the management 
by a single committee,” they were so far from requir- 
ing, as is untruly alleged against them in the circular 
referred to, “ that tbe School of Design should be con- 
ducted upon principles sanctioned oy them.” that, 
after many other attempts at accommodation, they sug- 
gested by a resolution, dated the 30th of May, 1843, 
r< that the unprofessional body should be tbe recipients 
of her Majesty’s bounty, and carry out the plan of the 
School of Design, independently of the artists, with 
power to call to their aid, if deemed necessary, any or 
all the members.” Moi e mature reflection having con- 
vinced the professional members, as they also stated in 
the same resolution, that “ such an union Would be 
destructive of tbe present balance of the two bodies of 
equal powers, and incapacitate the artista from giving 
that efficient support, which is acknowledged to have 
been mainly instrumental In raising the 9ociety of Arts 
to its present high stand in the provinces.” 

Instead of any manifestation of a corresponding feel- 
ing of conciliation, this suggestion of the artisis was 
met by a resolution of the unprofessional committee, 
“That a special general meeting be now summoned, 
for tbe purpose of re-organising the Society, and of con- 
sidering tne adoption of measures that may extend 
the advantages of it, and more especially as respects 
tbe management of the Institution by a single com- 
mittee.” 

Justified as the artista believed they were by tbe laws 
of the Society, as before quoted, they protested against 
the injustice and illegality of these proceedings, and 
also against the competency of any general meeting to 
entertain tbe question proposed. A special general 
meeting waa, however, held at the Waterloo Rooms, 
Birmingham, on the 12th of July, when 53 persons only 
attended, out of a body of subscribers amounting to 
nearly 400. The artists again protested against the 
regularity of the proceedings i and the question of the 
competency of tne meeting to eutertain tbe proposal 
having been put to tbe vote, it was found, that 37 per- 
sons voted against the abrogation of tbe laws, and 35 
only, including the chairman, for the alteration. The 
minority then claimed double votes, a further scrutiny 
was had, when the votes appeared to be, for the altera- 
tion 88, against it 80. The former majority of two per- 
sons preseut was therefore changed into a minority of 
eight votes, and the artists and tneir friends declining 
to participate in the further proceedings of the meet- 
ing, immediately withdrew, as they could consider the 
resolution then come to in no other light than as ft dis- 
memberment nf the Society, and a forcible disruption 
by the committee of tbe subscribers of tbe terms on 
which their union with the artists had been originally 
accomplished. 

Feeling that their professional character and posi- 
tion would be materially injured by these arbitrary pro- 
ceedings of the nnprofessional committee of the Society 
of Arts and their adherents, and fearing lest the ad- 
vantages proposed by the establishment of public 
exhibitions— which, they would also remark, is perma- 
nently recorded in the report of 1830 (before quoted), 
to have originated with their own body, and not with 
the unprofessional part of the late Society— fearing lest 
these advantages should be lost to the public as well as 
to themselves, the artists then formed themselves 
iato a new Society, called the Society of Artista, and 
proceeded to make the neceeasary arangements with 


their friends and brother artista, for tba opening an ex- 
hibition of Modern Paintings for the present year. 
But they were at the same time careful to have it per- 
fectly understood, as expressed in the circular of their 
chairman, that “ they had seceded [or more properly* 
perhaps separated from the Society of Arts”], and tne 
circumstances of this separation were fully explained 
in a personal interview by Mr. Room, with each artist. 
It is with grateful pride that tbe artista have uow to ac- 
knowledge the cordial sympathy evinced towards them 
on this occasion, and the valuable support with which 
they have been honoured by the most distinguished 
members of the profession, and that too on tne very 
ground of this their struggle for independence. 

The artists have now fully set before their friends and 
the public, the circumstances attending the recent dis- 
memberment of tbe Society of Arts. They have re- 
fused, as they felt they had a right to refuse, to bold 
any further communication with tne new committee of 
management of the Society of Arts, on the subject either 
of their own, or the former Institution, nor will they 
now condescend to recriminate charge* against them. 
The ungenerous spirit that dictated the circular, thit 
has called for the preeent statement, will be apparent 
to tbe most cursory reader, and ita illiberality will not 
fail to draw down tbe unqualified reprehension of 
honourable minds. 'The artists, however, confidently 
rely on the merits of their case, for acquittal of the 
many unjust insinuations thrown out against them by 
tbe unprofessional committee ; and appeal from thft 
decision of an interested few, to the impartial judgment 
of the public. 

Piter Hollins, Chairman. 

Birmingham, August 18th, 1843. 

ART IN CONTINENTAL STATES. 

ITALY.— Naples.— Thi Railroad from JVd- 
nlee to Ceutellamare. — The railroad between 
Naples and Caste 11am are is almost oompleta j its 
distance is fifteen miles, and perhaps no road in 
Europe, nor in the world, comprises in so short 
a space so many objects of interest and beauty. 
We need not speak of the charm everything gains 
from the sky of Italy ; independently of this, the 
artist will see in these fifteen miles a succession as 
it were of model landscapes, prepared by the 
master hand of nature, to inspire his genius. The 
antiquarian is surrounded by the objects of his 
research, not buried in the tomb of a museum, but 
in their old localities, and with all their old as- 
sociations ) and the naturalist may study the most 
sublime facta in the science he loves — in the won- 
derful evidences of volcanic power, in the solid 
lava of Herculaneum, and the ashes of Pompeii. 

FLORENCE. — Monument to Signor Sie - 
mondo de Siemondi.— The celebrated Sismondo 
de Sismondi, originally from the city of Pisa, in 
Tuscany, deceased at Geneva, has left with life- 
rent to his wife, an English ladv, his whole pro- 
perty to his relation, M. de Sismondi, residing 
in the town of Peseta. In grateful remem- 
brance this Sismondi has commissioned the 
sculptor Bartolini to erect a monument in ho- 
nour of his uncle. It is to be a statue in 
marble, representing Sismondo de Sismondi in a 
sitting posture, reading one of his works, ** The 
History of the Italian Republic :" other volumes 
are scattered at his feet, on which we read the 
titles of his most celebrated works, “ History of 
France," “ Political Economy," “ Literature of 
the South," “ Agriculture of Tuscany," fee. 

Madll*. Faveau. — The celebrated French 
sculptress, MadUe. Faveau, continues her labours 
here. It is many years since she left France, in 
consequence of the revolt in La Vendle ; she for 
a long time carried on her works in the studio of 
Bartolini, but she has now a work-room of her 
own. Among her most celebrated productions we 
may mention a monument to Dante, executed for 
that true lover of Art, the Countess Pourtal<*s — 
this was her first large work — a vase for holy 
water, and a sword-hilt for the King of Sardinia ; 
a sepulchral monument in the style of the middle 
ages, for a noble family in Piedmont; the Arch - 
Angel Michael vanquishing Lucifer, now in the 
collection of M. Thiers ; and our readers will re- 
member her Judith, exhibited this year at the 
Louvre, in alto-relievo, which excited so much 
admiration and so much criticism. To the list of 
smaller productions belong two busts of the Du- 
chess de Berry, and six of the Duke de Bourdeaux. 

Bologna.— Monument to Signor Siemondo de 
Siemondi . — The news of tbe premature death of 
the distinguished author, Sismondo de Sismondi, 
had scarcely reached the Academicians of the In- 
stitute of Science, who have the real honour to 
have numbered him among their members, when 
they came to a resolution to erect a memorial to 




216 


THE ART-UNION. 


[Sept., 


this celebrated historian and economist. It is to 
be a statue in white Carrara marble, representing 
Sismondi standing in the act of writing “ The 
History of the Italian Republics.” The statue 
will be placed on a pedestal richly sculptured with 
scientific and literary emblems, crowns of laurel, 
the titles of his works, &c., and the following in- 
scription is to be placed on it : — 

ITALICO, 

SISMONDO DE SISMONDI, 

CONFRATRES INSTITUTI SCIENTIARUM, 

BONONIiE, 

MBMORIAM HANC. 

D. D. D. 

The sculptor employed for this work is Signor 
Baruzzi, Professor in the Academy of Fine Arts 
at Bologna. 

Work* qf Signor Gualandi. — We have before 
mentioned that most interesting collection pub- 
lished here by Signor Gualandi, called “ Memorie 
originali risguardanti le Belle Arti” — (“ Original 
Memoirs regarding the Fine Arts.”) We have the 
pleasure to say that the Grand Duke of Tuscany 
nas most liberally aided the success of the work by 
permitting M. Gualandi to examine not only the 
public archives, but his secret ones ; and when we 
consider the relations of the greatest artists during 
the brightest era of the Arts with the court of 
Tuscany, we may well anticipate a rich harvest of 
interesting documents, many disputed questions 
cleared, and oftentimes to meet the simple and 
modest enunciation by their peat authors of works 
that have become the world's wonder, such as 
Raffaelle's letter, when he sent his Sta. Cecilia 
to Bologna, requesting Francesco Franc ia to tell 
him its defects. 

FRANCE.— Paris.— Duke of Orleans.— Ac- 
cording to the command of the King and Queen, M. 
Pradier, the sculptor, has taken a cast of the head, 
hands, and feet of the lamented Duke of Orleans. 
M. Cailloux, director of the Royal Museum, was 
present during the operation, which was perfectly 
successful. The features were quite unchanged, 
and the countenance retained the mild and bene- 
volent expression which characterized it in life. 
M. Pradier is charged to execute a marble statue 
of the Duke, in a standing posture, and a recum- 
bent one for his tomb. One only correct likeness 
of him now exists, — we allude to the portrait by 
M. Ingres ; there is also a good bas-relief, modestly 
called a sketch, by M. Adam Saloman. On the 
spot where the house stood, where the Duke of 
Orleans breathed his last, on the 44 Chemin de la 
Revolte,” a chapel is to be immediately erected, 
and the materials of the house removed to the 
Park of Neuiliy, are to be there reconstructed a 
fac- simile of the house itself. Our readers are 
aware the house was sold to the civil list for 1 10,000 
francs. 

Cathedral of 'Dijon.— M. J. Lecurieux, one of 
our most distinguished painters, has received an 
order from Government to paint two pictures for 
the cathedral of Dijon. Tne one is to represent 
the martyrdom of the Apostle of Burgundy, St. 
Benigne ; the other, a circumstance in the life of 
St. Bernard. 

The Elephant of the Bastile.— The municipal 
council of raris arc occupied in coming to a deci- 
sion as to making use of the colossal model of the 
elephant now standing where it was modelled in 
1813, on the 44 Place ae la Bastile.” It is proposed 
to cast it by a single jet for the sum of 900.000 fr. 
The situation where it will probablv be placed is 
the 44 Rond Point de la Bamere du Trone,” where 
it will form a monumental fountain, unequalled in 
any capital of Europe for its stupendous size and 
ricn adornments. Columns for lamps and mag- 
nificent candelabras, in a similar style to those of 
the 14 Place de la Concorde ,” will form part of the 
decorations. At the same time the unfinished 
sculptures on the pyramidal columns of the 41 Bar- 
riers du Trdne ” will be completed, and allegorical 
figures placed on the top of them. It is considered 
that these improvements will moke this one of the 
most important entrances to the capital, and may 
also have the effect of attracting a return of the 
population which of late have been withdrawing 
from this quarter. The municipal council have 
already voted 30,000fr. for the preparatory works. 

Malksherbes . — Monument to the Defenders 
qf Mazagran. — The foundation-stone of a column 
destined to commemorate the defence of Maza- 
gran was laid on the 3rd of August, on the 44 Place 


Martroai of Malesherbes,” the native town of Capt. 
Lelilvre, who conducted the defence. Within the 
foundation-stone was placed a very thick glass 
bottle, containing the names of the subscribers and 
description of the ceremony, the number of the 
44 Journal du Loiret” of the 18th of March, 1840, 
containing details of the attack, a medal struck in 
honour of the day, and one of King Louis Phi- 
lippe. 

GERMANY.— Munich.- The Walhalla .— We 
have before mentioned the Walhalla , or Temple 
of Glory, erected by the King of Bavaria, to con- 
tain the busts of two hundred illustrious Germans. 
The group for the north pediment of this building 
has been for eight years the labour of Swankhaler. 
We have examined it in his studio, and it well 
merits a description, small as may be the justice a 
cold description can render to such a work. The 
subject is allusive to the victory of Hermann or 
Armineus over the Roman legions, poetically 
represented, and contrasting the elements of the 
old German nation, war, poetry, religion, love of 
fatherland and woman, with the homeless military 
life of the Roman soldiers. The entire group con- 
sists of fifteen colossal figures, from eight to ten 
German feet in height, executed in complete alto- 
relievo, the figures being detached ana separate. 
The middle figure is that of Hermann dividing the 
two parts of the composition. He is the repre- 
sentation of the spirit that animated his nation; 
his heroic form is partly concealed by a flying 
mantle, in his helmet is a falcon's plume, beside 
him are three personages, to whom are given the 
historic names of Mela, Cattumer and Legimer, 
leaders of the Germans, but typifying strength, 
love of war, & c. Near them is a kneeling bard, 
crowned with oak, striking the harp, while he 
describes the battles that have just taken place; 
and a prophetess, her streaming hair wreathed with 
oak and mistletoe, sings on tne heroic fields the 
song of war. A sublime melancholy that breathes 
the spirit of antiquity, characterizes this part of 
the work. The lovely form of Thusnelda is a 
charming contrast to the dying old man, Sigmar, 
the father of Hermann, whom she supports, her 
flowing tresses partly covering him. This i3 the 
German part of the work. On the other side of 
Hermann we see lightly-armed Roman soldiers, 
who retire, heavily-armed ones, who press forward. 
The overthrow of the legions is typified by the 
suicide of the leader, and the fate of the augurs, one 
of whom is dying and the other dead. 

The examination of the whole composition in- 
duces us most warmly to join in the high acknow- 
ledgment of the merit of this work, which has 
been paid to it by the best judges and by the public 
at large ; we ought to mention that the draperies, 
from the fur to the linen garments, are finished in 
a manner that is adapted to come close to the eye 
in a museum. 

Vienna. — Exhibition qf Fine Arts . — The ex- 
hibition of works of Art has been open for some 
time in the hall of the Polytechnic Institution. 
We do not consider the excellence generally of the 
works exhibited of a very high order, nor are they 
very numerous. Many, however, maybe selected 
as exceptions to the first remark, being of great 
merit : among these we may name, in sculpture, 
Bauer's group, in Carrara marble, of 4 a dead 
Christ supported by his mother here are noble 
forms ana deep expression. There are good busts 
by Antony Dietrich and T. Glanz, ana 4 a love’ 
in marble, by Scballer, is also much admired. 
Among historical paintings there is a very effective 
altar-piece, by Kupelwiser; and J. Scnnorr ex- 
hibits his cartoons of 4 the Barbarossa Hall' at 
Munich. The department of landscape is very 
strong: Canella (on Italian painter), Fischbach, 
Von Haanen, Ostcrhood, having all contributed 
beautiful pictures; we also especially noticed a 
large and beautiful view, in water colours, of the 
4 Bocca di Cattaro,' by Alt (the father). Of 
pictures 4 de genre,' there are two excellent ones 
of military life by Von Tremmell and Schindler. 
Of engravings there is a magnificent one of the 
Madonna, by Raffaelle, in the I. R. Picture Gal- 
lery, by Steinmuller; excellent also are Robert 
Theer's engravings in stone. 


ART IN THE PROVINCES. 

The exhibitions at Liverpool, Manchester, and 
Birmingham, will be opened before the publication 
of our next number. We shall take especial care 
to review them somewhat minutely, and at length. 

Dublin.— T he prizes of the Royal Irish Art- 
Union have been distributed. The total number 
was 309 ; the total cost was £2,120. The highest 
prize was £80— a landscape by Mr. G. Columb ; 
the lowest was valued at £2. We rqjoice to per- 
ceive that the Committee are devising plans for the 
encouragement of the Arts, independently of the 

P urchase of pictures, and think the London Art- 
Jnion may borrow, with advantage, some hints 
from their arrangements — we earnestly hope they 
will not suffer private interest to prevail, as it did in 
the case of Mr. Burton, against public duty and the 
interests of the Society ; but that every competitor 
may feel certain that he will be judged wholly and 
solely by his own merits. It is not by elevating 
one artist to an undue position — a position to which 
he is not eu titled, ana which he cannot maintain — 
that the honour and welfare of the body can be 
supported and extended. The injudicious friends 
of Mr. Burton have done him no service : they 
may push him up, but they cannot prop him up. 
The most perilous of all things to an artist who 
promises well, is injudicious patronage. We turn 
to a pleasanter view of the subject, and print the 
44 programme of tbe Royal Irish Art- Union for 
the ensuing year :” — 

44 TO ARTISTS RESIDENT IN IRELAND. 

The Royal Irish Art-Union have resolved to 
appropriate one hundred and sixty pounds as pre- 
miums, to be offered in the following proportions 
for the best specimens (if approved of by the 
Committee of selection) in the following branches 
of Art, executed by individuals resident in Ireland 
for at least one year previous to the time of exhi- 
bition, which will probably take place in the month 
of May, 1843 : — 

1. For a line engraving on copper or 
steel, size not less than eight inches 

by six £50 0 0 

2. For an etching on copper or mezzo- 
tint, size not less than eight inches 

by six 25 0 0 

3. Engraving on wood, size not less 

than four inches by six, (first prize) 10 0 0 

Second prize 500 

4. Lithographic drawing, size not less 
than eight inches by three, (first 

prize) 10 0 0 

Second prize .. .. 5 00 

Impressions on India paper and white 
paper, printed in Ireland, to be 
exhibited. 

5. A pair of medal dies, diameter not 
less than one inch and a half, 
impressions in silver and bronzed 

copper to be exhibited 25 0 0 

6. Engraving on gem or hard stone, 

(first prize) 10 0 0 

Second prize 5 00 

7. Model or cast in clay, plaster, or 

wax, (first prize) 10 0 0 

Secona prize 5 00 

£160 0 0 

44 CONDITIONS. 

1. In case any impression or copy of any work be 
publicly exhibited previous to its being sent in 
for competition, it shall be disqualified to re- 
ceive the premium. 

2. The engraving, &c. , must be from original and 
unpublished subjects, by living Irish or resident 
artists. 

3. All specimens for competition for the prizes 
must be sent into the Committee before the 
1st of June, 1843. 

4. The competitors for the prizes must furnish 
satisfactory evidence to the Committee that 
the works exhibited have been executed by 
the artists in whose names they are entered. 

44 It will afterwards be optional with the Society 
to possess themselves of any of these productions, 
allowing the artist, in addition to the premium, a 
fair and equivalent remuneration for his labour, 
or assisting him by the weight and influence of the 
Society to publish the same for his own benefit, 
and that of the painter from whose work an attrac- 
tive engraving or lithograph may be undertaken.” 


1842 .] 


217 


REVIEWS. 

Sir Uvedale Price on the Picturesque. 

Edited by Sir Thomas Dick Lauder, Bart. 

Caldwell, Llotd and Co., Edinburgh., 

pp, 586. 

The present edition of this work differs from that 
of 1610, inasmuch as the numerous foot-notes 
occurring in the latter are here incorporated with 
the text ; much, it cannot be doubted, to the con- 
venience of the reader, although we apprehend it 
is a licence open to some objections. The volume 
is interspersed throughout with wood-cut vignettes, 
amounting to 60 in number, designed and drawn 
on the wood by Montagu Stanley, R.S.A. ; and 
it commences with “ An Essay on the Origin of 
Taste,” by the editor. All who have written on 
taste agree iu deducing it either from cultivation 
or sympathetic association. We hear continually 
of declared preferences which society term “ baa 
taste; ” but with respect to the individuals them- 
selves, who, moved by affections which have never 
been qualified by education, evince such inclina- 
tions, there can be no such thing. An individual 
may derive much pleasure from the contemplation 
of an object which would generate emotions of an 
opposite character in a mind of greater refinement ; 
this is not “ taste,” conventionally ; but the sight 
of the object fills his mind with images, bringing 
with them a gratification, which, if it be unfelt by 
others, yet arises from what to him is a sense of 
the beautiful. There are things which address 
themselves with the same degree of force to the 
educated and the uneducated intelligence — such 
things are enthusiastically pronounced beautiful 
by both ; if, therefore, the feelings of both could 
be accurately shown, without declaring the fact 
that this or that was the effect experienced by the 
cultivated mind, and the other the emotion of 
the uneducated, both would be declared pos- 
sessed of “taste.” Thus, two persons very differ- 
ently considered in society may accord upon cer- 
tain subjects, while upon others less purely natural 
they may be divided ; this, however, does not in- 
validate the claim of the uncultivated perception 
to “ taste ;” for every taste is just, considered in 
the abstract, and with regard to individual emotion. 
We do not look very charitably upon those whose 
tastes do not assimilate with our own ; but if we 
canvass the question honestly, there is no reason 
why others as well as ourselves should not have 
their peculiar sources of enjoyment. Taste is (ex- 
eat hedrally) denied to all who have not graduated 
in refined experience : this is one of the pseudo- 
tenets of society ; but every preference, without re- 
gard to conventional circumstance, is true taste. 

The word “picturesque” is common aud popular, 
and consequently loosely and vaguely applied ; this 
abuse, however, can never vitiate its real sense, 
nor widen the range of its applicability. In the 
third chapter of the book before us, Sir Uvedale 
Price, defining the term, says : — In general, I 
believe, it is applied to every object and every 
kind of scenery which has been or might be repre- 
sented with good effect in painting — just as the 
word beautiful, when we speak of visible nature, is 
applied to every object and every kind of scenery 
that in any way give pleasure to the eye ; and these 
seem to be the significations of both words, taken 
in their most extended and popular sense.” If, 
from a certain sense of pleasure, the term beautiful 
be applied to that which generates the emotion, it 
is an appropriate term independently of all circum- 
stances, ana the qualifications of the mind enter- 
taining the affection. But of the picturesque there 
is more to be said : it has been begotten of a good 
intention, therefore ought its purity of desceut to 
be vindicated. It may be applied to “every kind of 
scenery which has been or might be represented 
with good effect in painting,” but, employed thus 
generally it must be an improper epithet in a 
multitude of cases, siuce there is much that could 
be represented “ with good effect ” that is not pic- 
turesque. We believe the epithet to describe a 
quality existing in forms and combinations which 
fills the mind with a grave interest. Gilpin has 
also broken this grouud ; and, from his habitual 
contemplation of the picturesque, better things 
might have been expected than this — speaki ng of ob - 
jeett so qualified he defines them, as those “ which 
please from some quality capable of being illus- 
trated in painting ;” again, in a letter to Sir Joshua 
Reynolds, he distinguishes by it “ such objects as 
are proper subjects for painting.’' Few seriously- 


THE ART-UNION. 


attempted solutions of a quality so well- under- 
stood have been more wide of the truth 
than this. There is an inexhaustible range of 
subject-matter for painting, which, with tolerable 
treatment, would be effective in every way save in 
the picturesque. In the same chapter (page 82), 
Sir Uvedale Price says, “I am persuaded that 
the two opposite qualities of roughness, and of 
sudden variation, joined to that of irregularity, arc 
the most efficient causes of the picturesque.” 
“ Roughness” — a term also used by Gilpin on the 
same subjectr-contributes much in certain combi- 
nations to the picturesque ; but yet we apprehend 
that the quality can exist without it. Many have 
objected to the word itself, as having a signification 
beyond what its etymology would imply ; but to 
how many other terms are we reconciled which 
must be interpreted by a paraphrase 1 It has a 
place in all the languages of Romanesque descent, 
and is partially adopted into the German, for the 
word maleriech is not limitable to the same 
sense. The word has been invented to express 
not only what is essential to effect in paint- 
ing; but that which is peculiar to the art that 
shares with sculpture the sublime and the beauti- 
ful, .but claims the picturesque for itself alone. 
Simple as is the mechanical production of breadth 
in a picture, there is yet great experience neces- 
sary for its treatment ; since we find it, in its best 
effects, only in the works of eminent men. The 
attempts of others, who, aware of the value of the 
quality, essay to give this effect without feeling it, 
end generally in flatness. Innumerable producers 
of pictures have no apprehension of the value of 
breadth in connexion with finish ; hence we find 
their compositions always minced into impertinent 
lights and shadows : such works we are accus- 
tomed to hear designated as “ spotty.” Speak- 
ing of breadth so managed as to preserve an idea 
of detail, Sir Uvedale Price appropriately ob- 
serves — “ Many of the great Italian masters have 
done this also, and with a taste, a grandeur, and a 
nobleness of style unknown to the inferior schools ; 
though none have exceeded, or perhaps equalled, 
Rembrandt, in truth, force, and effect. But when 
artists, neglecting the variety of detail and those 
characteristic features that well supply its place, 
content themselves with mere breadth, ana pro- 
pose that as the final object of attainment, their 
productions, and the interest excited by them, will 
be, in comparison of the styles I have mentioned, 
what a metaphysical treatise is to Shakspeare or 
Fielding; they will be rather illustrations of a 
principal, than representations of what is real : a 
sort of abstract idea of nature, not very unlike 
Crambe’a abstract idea of a Lord Mayor.” 

In the 8th chapter, the beautiful i.i colour is 
spoken of ; on which subject the opinion of Sir 
Thomas Dick Lauder does not assort with those 
of Mr. Burke and Sir Uvedale Price. The last 
says — “ Mr. Burke’s idea of the beautiful iQ 
colour seems to me in the highest degree satis- 
factory, and to correspond with all his other 
ideas of beauty. I must observe, at the same 
time, that the beautiful in colour is of a positive 
and independent nature ; whereas the sublime in 
colour is in a great degree relative, and depends 
on the circumstances and associations by which it 
is accompanied. A beautiful colour is a common 
and a just expression : no one hesitates whether 
he shall give that title to the leaf of a rose, or to 
the smallest bit of it ; but though the deep gloomy 
tint of the sky before a storm, and its effect on all 
nature, be suolime, no one would call that colour 
(whether a dark blue, or a purple, or whatever it 
might be) a sublime colour, if simply shown him 
without the other accompaniments.” 

The remarks of Sir Thomas Dick Lauder im- 
mediately follow ; he says — 

“ Let us test this opinion. Let us suppose 
that a fragment of the most beautiful rose-leaf that 
can be found shall be applied to the tip of the nose 
of a beautiful young woman, in a manner so per- 
fectly natural as to lead the spectator to believe 
that the hue is native of the spot, and essentially 
belonging to it ; how would the eyes of all stran- 
gers be directed askance towards it with curious 
inquiry— and how would they recoil from it as 
something fearfully strange and unnatural 1 There 
can be no doubt that rose-colour has acquired its 
beauty in the eyes of mankind from the immediate 
association which it awakens in every one’s mind 
with the rich fragrance of the flower itself, as well 
as with the endless poetical images with which it 


Digitized 


has been for ages connected. The beautiful in 
colour is no more of a positive and independent 
nature, then, than the sublime in colour ; and the 
picturesque in colour stands, I suspect, on the 
same grounds as the other two.” 

Nothing is more readily admissible by the sim- 
plest understanding than the proposition of Mr. 
Burke. An infant can be moved Dy none of the 
associations of which Sir Thomas Dick Lauder 
speaks ; but it will prefer a rose for its colour, 
and would pronounce the flower beautiful if it could 
do so. If wood, or any other substance, were sus- 
ceptible of the delicacy and colour of the rose, it 
would, without any association, be as beautiful as 
the rose. If the same delicacy and colour were natu- 
ral to the wood, it is probable that certain associa- 
tions might attach to it ; but these could not add to 
the quality of beauty. We will accept as serious 
Sir Thomas Dick Lauder’s essay of Mr. Burke's 
opinion, by placing the rose-leaf on a young lady’s 
nose. If the tender colour and texture of the 
rose-leaf could be represented by paper, without 
the slightest relerence to the flower, we should 
call the colour beautiful, without the slightest 
suggestion from association. As circumstances, 
therefore, do not affect the colour, which, as Sir 
Uvedale Price says, is “ of a positive and inde- 
pendent nature,” the colour loses not the minutest 
portion of its beauty, even where Sir Thomas Dick 
Lauder would test it— on a young lady’s nose. 
The beautiful in colour may by association become 
the sublime, but it never can be less than beau- 
tiful. 

No mind can be insensible to the beauty of trees. 
Thus it is that their aid is called in as the primary 
auxiliary in ail cases of improvement. Without 
them any landscape, however varied otherwise, is 
incapable of awaking all our sympathies. There 
is much grandeur in combinations of rocks and of 
mountains; and although trees may not be re- 
quired on the summits of these, yet we feel them 
insufficient without their accompaniment since 
every variety producible by river, plain, and 
mountain, is more or less insipid without them. 
The most subtle and brilliant effects in the land- 
scape are those of water. It harmonizes with all 
objects and circumstances, and adapts itself at 
once to every change of the atmosphere and season. 
It reflects colour and form, correcting the crude- 
ness of the one and the harshness of the other ; and 
is the best example of the general harmony of 
nature to which the painter can address himself, 
for the compliance of water with a general tone is 
less reluctant than that of any other object. In 
separate essays Sir Uvedale Price treats also of 
“ artificial water,” “ buildings near the house,” 
“ architecture and buildings,” &c. flee. These, it 
will be seen from their titles, bear upon the sub- 
ject of the improvement of estates, which is dis- 
cussed with much ability and perspicuity. They 
are followed by a dialogue on the distinctive quali- 
ties of the picturesque and the beautiful, the former 
of which is negatively illustrated in a query, 
partially shaped like one that would be put by an 
examiner to a candidate for honours. “ Tell me,” 
says the querist, “ how you account for this strange 
difference between an eye accustomed to painting 
and that of such a person as myself? If those 
things, which Howard calls beautiful, and those 
which I should call beautiful, are as different at 
light and darkness, would it not be better to have 
some term totally unconnected wi h that of beauty, 
by which such objects as we have just been look- 
ing at should be characterized ? By such means 
you would avoid puzzling us vulgar observers with 
a term to which we cannot help annexing ideas of 
what is soft, graceful, elegant, and lovely; and 
which, therefore, when applied to hovels, rags, and 
gipsies, contradicts and confounds all our notions 
and feelings.” Erasmus must have had an exten- 
sive knowledge of art to have made this observa- 
tion : “ Quse nature deformia sunt, plus habent et 
artisetvoloptatisin tabula.” He was thinking of the 
picturesque, but he has failed to describe it. Defor- 
mity works powerfully on the mind, but the effect is 
widely distinct from that of the picturesque, be- 
tween which and deformity there is a dearer de- 
marcation than between the picturesque and the 
beautiful. 

Many of the vignettes are skilful in execution 
and appropriately thrown in; in character and feel- 
ing they are of our own school— English landscape, 
meaning, of course, British. As no painter can 
work for any length of time from a given stock of 

/Google 


218 


THE ART- UNION. % 


[Sept., 


knowledge or experience, it it necessary that h$ 
fbould continually read nature for himself, and also 
atudy the precepts of those who have read her as- 
siduously, and laboured to do so accurately. The 
opinions of Sir Uvedale Price seem to have been 
elaborated by years of research and observation, 
and he has borne gallantly the honey of his sum- 
mer-time to the common stock ; we can therefore 
Say that artists will gather much valuable infor- 
tnatidb from his pages. None can follow better 
working maxims tnan those of Michael Angelo, 
jvho, late in his lifetime, said, — Jo imparo sncora. 


Handbook for Northern Germany. John 
Murray and Son. 

The utility of these handbooks (“we thank ye, 
Genian * , for that word”) is a proverb; for to 
a knowledge of the language ot the country in 
which a man would travel, a judiciously-arranged 
handbook is the next blessing : not that kind of 
production which, with due regard to sound topo- 
graphy, commences each chapter with a disquisi- 
tion upon local nomenclature, and concludes it a 
Quarter of a century short of all the information 
desirable to the temporary visitor; but such a 
book that goes at once to the pertonel of the 
traveller, and saving him the vexation of arriving 
at Sterne’s solution of the problem of payment — 
“ pay. pay, with both hands open”— tells him at 
once how many times a day the trekechuit goes 
from Leyden to Haarlem. This handbook em- 
braces Holland, Belgium, Prussia, Mecklenburg, 
Hanover, Brunswick, Hesse Cassel, the Hanse 
Towns, Nassau, the Rhine, Ac. Ac., and seems to 
be constituted of materials actually gathered in the 
experience of travelling. Consisting of some MO 
very closely-printed pages j it may be supposed to 
contain an immense mass of matter, the whole of 
which is so arranged as to promote the conve- 
niences ot the tourist, and anticipate the usual 
inouiries of the curious. 

The traveller having landed at Rotterdam, finds 
in nis handbook a description of everything worth 
seeing. From Rotterdam he proceeds to Delft, 
the Hague, Leyden, Haarlem, and Amsterdam, 
which terminates the second route. Without using 
the book otherwise than as a gazetteer, we are 
much pleased with the judiciously-selected infor- 
mation it supplies with regard to cities and towns 
all famous throughout Europe. To the artist the 
Low Countries are of great interest, not only 
from their wealth in productions of Art, but as 
also supplying endless subject-matter for the 
pencil. In looking at the accounts of the famous 
galleries and minor collections, so numerous in 
Holland, it is gratifying to observe that the 
opinions of authorities upon such a subject have 
been respected. As early as the year 1368, the 
first corporation of artists was formed at Bruges, 
and in the days of the Van Eycks, between 1370 and 
1445, the guild consisted of upwards of 300 
painters, who were enrolled on the books and 
formed the most celebrated school of Art of the 
time. In the portion of the book devoted to Ger- 
many, the greatest care has been exercised in re- 
commending the best inns, which recommendations 
are accompanied with such remarks as must result 
from actual experience. 

Handbook or Switzerland, Savoy, and 
Pibdmont. John Murray and Son. 

This Guide-book opens at the Rhine towns, and 
carries the traveller across to Italy. To the nu- 
merous English travellers who have visited Switzer- 
land, the want of a sufficient handbook must have 
been much felt; for, useful as are the class of 
servants, known as valete de place , yet there is a 
great proportion of travellers who would willingly 
exchange their garbled communications for the 
silent gossip of a book. Long as Switzerland has 
been the attraction of all European travellers, yet 
their progresses have never been aided by anything 
like a convenient guide-book. The work of Ebel, 
written about the commencement of the present 
century, has been long the “ counsellor and friend” 
of all who, in visiting Switzerland, have desired 
somewhat beyond the mere entertainment of the 
eye ; but consisting of four volumes, its place is 
the book-shelf ; and not the pocket. When this 
book was published, the country, although visited 
as the wonder of Europe, was not so much as now 
within the compass of moderate means : the grow- 
ing peripatetic habits of our countrymen have 
called for a publication formed of useful and inte- 


resting information, and the want seems to be ably 
supplied in the present work. Although it is im- 
possible to testify to the accuracy of every item in 
the book ; yet experience enables us to verify many 
parts of it. The time has been when the traveller 
must have contented himself with Kotzebue, the 
Frau Von Bran, or some other popular and partial 
writer. The work contains a map and views of 
the Alps ; and the writer, entering into the spirit 
of German pedestrianism. recommends the indi? 
vidual traveller to equip himself in a blouse ; his 
shoes ought to be “ double-soled, provided with 
hob-nails, ,f ruck at are worn in snooting in Eny~ 
land , and without iron heels.” Other indispensa- 
bles are, a knapsack, a flask for Kirtchwaseer , a 
pocket telescope, and a stout bag to hold dollars. 
He speaks out assuredly from the experience of a 
“ walking gentleman:” to these, however, we 
would yet make one addition, we need scarcely 
name it— a pencil. The points whence the best 
views among the Alps are to be obtained are, the 
D6le, theCnaumont, theWeissenstein, the Albis, 
Monte Salvadore, the Kamor, the Righi, the FauL 
horn, and one or two other heights. To the English 
traveller and artist the scenery is entirely new, 
and abounding with waterfalls, some of which are 
among the most remarkable in the world. Of 
these the attention of the voyager is directed to 
the Fall of the Aar at Handek; to that of the 
Tosa in the Val Formazza ; to the Staubbach ; to 
the Giesbach ; to the Reichcnb&ch fall, Ac. Ac. 
No route of any interest is overlooked ; we are 
conducted to every locality worth seeing; and 
carefully piloted to the famed lakes of this part of 
the worla which the pictures of our artists must 
create in all who see them a strong desire to behold. 
So free from affectation is the style of this book, 
and so substantial the information it affords, that 
it must supersede everything else of the kind in 
the hands of those who visit Switzerland. 

London as it ia. Drawn and Lithographed by 
T. S hotter Boys. Published by Thomas 
Boys. 

We have now been long accustomed to street- 
scenery of every possible variety, made out in a 
style so distinctly our own, that no other school in 
Europe can equal it : with wbat indifference soever 
our continental neighbours may regard the fact 
with reference to the rank of this style in the scale 
of art, they are fain to copy it ; ana for ourselves 
it is worthy of note to bring forward anything 
original. Professed portraiture of streets and 
“ brick-bound ” highways is perilous ground for 
an artist of any calibre — more so for him of esta- 
blished reputation tnan an undergraduate, so 
spoilt are we by the licences which they first taught 
us to pardon, then to relish, and finally to crave. 
According to Burke, objects are more devoid of 
beauty in the proportion as they are angular; 
whether this be substantially true we cannot here 
discuss, but no discussion is necessary to show 
that angles are destructive of the picturesque, which 
we are taught to love rather tban to reverence the 
beautiful. To depict the leading thoroughfares of 
London where all ia improvement of that kind 
which among painters is at a discount, is an enter- 
prise demanding talent of a high order, without 
which nothing like the views before us could have 
been produced. These views are of a large folio 
size, coloured, mounted and generally executed 
with a close observance of truth, and much skill in 
the adaptation of effects to the subjects. 'The 
Tower from Tower-hill 1 is a plate which must 
hereafter become valuable as representing the 
buildings on the side of Tower-hill as they 
stood before the fire. This is now the most inte- 
resting view of the Tower that could be offered. 
Some of the most beautiful views in the set are 
those upon the river, which are pictures in effect 
and composition. That entitled * London-bridge 
from Southwark-bridge ' comprehends a vast 
range of objects remarkable in the local histories 
of both sides of the river : these are St. Saviour’s, 
the Custom-House, St. Dunstan’s-in-the East, 
the Monument, Ac. Ac. ; the view is bounded by 
a forest of masts. In ' blackfriars, from South- 
wark-bridge/ St. Paul’s forms a principal feature, 
a number of other churches are also visible, among 
which we distinguish the graceful steeple of St. 
Bride’s, also those of St Dunstan’s and the ill- 
starred St. Martin’s-in-the-Fields. ' Westminster, 
from Waterloo-bridge,' is a fine and characteristic 
picture of the Thames “ above bridge,” the ex- 


panse of which is thronged with river-craft, and its 
shores studded with countless dwellings, ware- 
houses, and factories ; Westminster Abbey anfi 
Hall are conspicuous objects in the drawing, and 
on the Surrey side rise many lofty chimneys, the 
whole backed bv a distance of hills. * Buckingham 
Palaee, from St. James’s-park,’ is an interesting 
artificial landscape, presenting the Palace from tha 
most advantageous point of view. ' Hyde Park- 
corner * is a feature worthy of a great city keeping 
pace with the times and even heading them : we 
see here St. George’s Hospital, Apsley House, 
the entrances to the Parks, Ac, ; all of which have 
received ample justice at the hands of the artist- 
In ‘ Regent-street, looking towards the Quadrant, 
a correct and imposing view of this pert of Lon- 
don is given ; undue proportion may seem to have 
been given to the buildings, but they wtil,nevertbef> 
less, prove accurate in their relations, although the 
objects are drawn large with regard to the general 
composition. The ' Entrance to the Strand from 
Charing Cross 1 is perhaps the most remarkable 
thoroughfare in London — the drawing embraces 
every object and edifice of interest, even the 
National Gallery. Other views are, * The Strand 
1 Temple Bar, from the Strand ' Guildhall,’ am 
interior, beautifully drawn and treated with the 
best feeling ; ' St. Dnnstan’s, Fleet-street * 8t- 
Paul’s, from Ludgate-bill,’ Ac. Ac. Of the en- 
tire work we have, finally, to observe that it ia most 
faithful in detail, spirited in execution, and is ac- 
companied by a Key, which ia a useful auxiliary to 
the memory. It has been moat carefully adapted 
to the plates by Mr. Ollier, and dwells upon every 
circumstance of interest in connexion with the 
localities represented. The matter descriptive 
of each view occupies half the column, the other 
half contains the same description in French, a 
provision which most facilitate the continental 
circulation of the work. 


TO CORRESPONDENTS. 


Beitish Costume. — We sfaaH next month com- 
mence the publication of a series of papers On British 
Costume j into which we shell introduce a considerable 
number of engTaved examples. They will be written sad 
illustrated by Mr. F. W. Fairholt, an artist who has d* 
voted considerable time and attention to the subject. 
His object, however, will be, as he himself expresses 
•' to set rather ss a guide tban a lecturer to direct 
the student to the several sources in which extensive 
end sufficient information is to be obtained. Under 
existing circumstances, when the knowledge as well as 
the genius of the Historical Painter is called into 
requisition, such references are especially needed. 

The necessity for occupying considerable space with 
the report of the “ Commission,” compels ns to post- 
pone the publication of a variety of articles. We have 
at the present moment in type, the * Grounds of the 
Ancient Masters,” u The Genius of Wilkie,” “ Archi- 
tecture round the Bank,” “ Metallurgy as Fine Art,” 
"The Decoration of the Honses of Parliament,” 11 The 
Contrast of Colours dependent upon Physical Causes, 
Ac.,” “ Mode of purifying Linseed Oil,” Ac. Ac. 

We direct the attention of three or four correspond 
ents from whom we have received communications on 
the subject, to an advertisement that will be foond else- 
where, of the work announced by Mr. Leslie, " So- 
lections from the Letters and other Papers of the late 
John Constable, R. A.” We understand that, as a suf- 
ficient number of subscribers has been already obtained 
to justify the publication of the work, it will be issued 
very shortly. Those who desire to possess it, should 
therefore forward their names without delay. 

“ A Teacher of Drawing ” mo*t have read the notice 
of which be complains in haste— the work is not recom- 
mended as a class-book. If it could have bora* an 
analytical notice such would have been given of it. It 
is not every book which we notice that we can recom- 
mend. 

Cartoons.— A lthough, ss oer correspondent aqr- 
gests, the word cartoon means literally, paper, yet the 
conditions of exhibition do not, we believe, limit the 
materials upon which the drawings are to be made to 
the literal meaning. We know that some artists are 
working upon fine canvass or sized holland. 

We have several “ Reviews” in type, the pnbUcntio^ 
of which we mutt postpone. 

To two or three queries that have been put to ap 
regarding the “ Commission,” we shall obtain replies. 


Digitized by V. joogle 




1842 .] 


THE ART-UNION. 


219 


R oyal polytechnic institution, 

extended into Cavendish-square.— Additions to 
the enlarged DISSOLVING VIEWS, one of which, 
the Interior of the Chapel of St. Helena, in Jerusalem, 
taken from the work of D. Robert*, R.A. (published 
by Mr. Moon), rivals the much admired picture of the 
Interior of the Greek Chnrcb. Among other novelties 
are line specimens of Fresco, in the ancient and mo* 
deni style, just executed by Frederick Sang, a German 
artist of the first eminence. Among the varied Lee- 
tnresin Practical Science, the Calotype Process of Mr. 
Fox Talbot is given at Two o’clock daily, in which 
pictures are spontaneously developed before the vi- 
siters. The Orrery, Diving Bell, Diver, &c. The Cos- 
mo ramie Views are shown in the evening only. Con- 
ductor of the Band, Mr. Wallis. — Admittance is. 


WORKS PUBLISHED BY HOW AND PARSONS. 

E ngland in the nineteenth 

CENTURY; an Illustrated Itinerary: 
Combining Views and Descriptions of all that is Pictu- 
resque in Nature, with all that is wondrous in Art : 
snd exhibiting England as it is, under its several 
aspects of Natural Scenery, Historic Memorials, and 
productive Industry. 

CORNWALL: 

With Five Landscapes, by Creswick, engraved 
on Steel, a Map of the County, and 110 Wood-cuts,— 
being the First Volume of the Work, price 16s., in half- 
morocco. 

LANCASHIRE: 

Landscapes, engraved on Steel— a Map 
of the County, and 170 Wood-cuts,— being the Second 
Volume, price 22s. 6d., in half-morocco. 

THE PALFREY: A POEM. 

BY LEIGH HUNT. 

(Dedicated to Her Mgjesty.) 

With Illustrations by Creswick, Meadows, Fbane- 
lin, Scott, &c., engraved on Wood. 8vo. price 5s. 

in. 

THE SAL AMANDRINE: 

Or, LOVE AND IMMORTALITY. 

A Romance. 

By Charles Mackay. Price 5s. 

IT. 

BELGIUM, 

SINCE THE REVOLUTION OF 1830, 
Considered in its Topographical, Civil and Military, 
Commercial and Agricultural, Religious, Literary, 
Moral, aod Social Relations. 

By W. Trollope, M.A. 

1 vol. 8vo., price 10s. fid. in cloth. 

Y. 

THE BRITISH ANGLER’S MANUAL. 

By T. C. Hofland, Esq. 

Containing Notices of the principa Rivers, Lakes, snd 
TTout Streams; with Instructions in Fly-fishing. Trol- 
ls V t ? e Post 8vo., very highly 

embellished, 21s. cloth; large paper, with India proofs, 

N 

T O MINIATURE PAINTERS, Ac.— W. 

-WARRINER. 30, GREAT CA8TLE-STREET. 
£®?JNT-fflREEl, Manufacturer of OR-MOLl/ 
FRAMES, M ATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return bis sincere thanks 
to those Artists and others who have undeviatingly 

K troniaed him ; begs further to inform them that tie 
s a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

.Jh* Trade, Merchants, and Captains of Ships sup- 
plied on the roost advantageous terms, and with the 
greatest punctuality. 

PAPIER MACHB PICTURE FRAMES. 

A RTISTS, PICTURE DEALERS, and others. 

respectfully informed that C. F. BIELFIELD 
has formed a Urge collection of new and elegant de- 
•J?" 8 ¥I f° r PICTURE FRAMES, in the IMPROVED 
The superiority of these Frames 
consists in their having all the effect of old carved 
work ; many of the patterns represent exactly the finest 
carvings of the seventeenth century. The small parts 
•J* £* r liable to injury than putty work ; Papier 
Mach* being a remarkably tough and nard substance, 
it never shrinks, and takes gilding very freely. The 
Frames do not weigh one quarter the weight of others, 
and their price is below that usually charged. Maay 
»P*c*mena are now on view at BIELFIELD’S PAPIER 
JJACHE I*. WELLINGTON - STREET 

NORTH, STRAND; where, also, pattern books may 
price 14*., consisting of a variety of patterns 
of Picture and Glass Frames, and Window Cornices, 
already erected and on sale. 


TO PARENTS AND GUARDIANS- 

W ANTED* by an ARTIST in good general 
practice, a genteel Lad, not under 14 years of age, 
as ARTICLED PUPIL, not to board in the house. He 
will be thoroughly taught to draw the Human Figure, 
Anatomy, Perspective, Geometry, Oil and Water-colour 
Painting, Lithography, ficc. A premium will be re- 
quired.— Apply for address to H. W., at Hogg’s Li- 
brary, 25, Edgewar e-road. 

O GENTLEMEN, ARCHITECTS, and 
Others.— SLOPER’S CONTINENTAL MARBLE 
PAPER HANGINGS, invented and manufactured only 
by J. SLOPER, No. 106, HIGH-STREET, MARYLE- 
BONE.— J. S. solicits an inspection of his Continental 
Marble Papers, expressly adapted for halls, staircases. 
&c., being natural imitations of the most beautiful 
foreign marbles, worked in blocks of any dimensions, 
and differing in every way from anything hitherto ma- 
nufactured in England, well deserving the attention of 
all connected with good buildings. Good bed-room 
paper, Id. per yard: handsome drawing-room, 8d. ; 
dining and library, 6a. ; best gold moulding, fid. per 
yard. House painting and decorating 15 per cent, less 
than usually charged. Estimates given. Patterns sent 
to all parts of the country.— Observe, J. Sloper, 106, 
High-street, Marylebone. 

EWLY INVENTED SKETCHING 
PENCILS. 

S B. Very black for the foreground. 

B. Middle tint. 

N. Neutral tint, for distance. 

K. WOLFF and SON beg to recommend their new 
invented BLACK CHALK PENCILS and CRAYONS, 
which will not rob off or smear. They are richer in 
colour and superior in working to any other Pencil 
hitherto known. The great advantage derived from 
these Chalks, are their capability of producing effect 
with little labour, combined with their adhesive quali- 
ties, which will admit of the drawings being kept in a 
portfolio without fear of smearing. 

May be had of all Artists, Colourmen, and Stationers ; 
and at the Manufacturers, 23, CHURCH-STREET, 
SPITALF1ELDS. 

C HIMNEY GLASSES, PICTURE 
FRAMES, CHEVAL and TOILET GLASSES, 
CONSOLE TABLES, WINDOW CORNICES, 
SCREENS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANAT1, 
WORKING CARVER and GILDER, 19, ST. MAR- 
TIN’S -COURT, St. Martin’s-lane.— P. G. manufactur- 
ing every article on the premises, is thereby enabled to 
oiler them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of charge. A list of the 
prices of Plate Glass, &c. sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on band, at reduced 
prices. 

N otice.— patent relievo leather 

HANGINGS and CARTON-TOILE OFFICE, 


the CARTON-TOILE, fitc., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 52, 
Regent-street, where an immense number of Designs 
are constantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels, Caryatides, 
Foilage, Pattern*, Busts, Mouldings, Book Covers, 
Album Covers, Screens, fire., &c., in evenr style of 
Decoration, and for every possible nse to which orna- 
mental leathers can he applied, and at a considerable 
reduction in price. We beg to notice, that this Firm 
only will continue to receive monthly from ns all new 
Patterns and Designs in our manufactures. 

L. COMETH and CO., 10, Rue Basse du Rempart, 
Paris.— May 25, 1842. 

AK CARVINGS for CHURCH 
DECORATIONS, &c.— Messrs. BRAITHWAITE 
and CO., Proprietors of the patent method of CARV- 
1NG in SOLID WOOD, beg leave to invite the No- 
bility, Clergy, and Architects, to view their Specimens 
of Oak Carvings, suitable to the Gothic Embellish- 
ments of Cathedrals and Churches, such as Stalls, 
Panelling, enriched Tracery, Chairs, Communion-rails, 
Tables, Altar-screens, Pulpits, Reading-desks, Lecterns, 
Stall-beads, Finials, Organ-screens, Gallery-fronts, fitc., 
at one half the price usually charged. 

Estimates given, and conti act* entered into, fbr the 
entire fitting-op, restoration, or repairs, of any Ca- 
thedral, Church, or Mansion. 

By their process a moat important saving in expense 
and time will be found in the fitting or repairs of 
Churches or Mansions, either in the Gothic or Elixa- 
bethan style, in any description of wood. It is equally 
applfcabUt to Elizabethan or Gothic Furniture, such ss 
Chairs, Book-cases, Cabinets, Tables, Picture-frames, 
Coats of Arms, Mouldings, ficc., fitc.— No. 5, HEN- 
i RIBTT A.STRBET, CO VENT-GARDEN. 


RAND'S PATENT 

METALLIC COLLAPSIBLE TUBES 

FOR OIL COLO URS. 

J RAND, the Inventor, Patentee, and sole 
• Manufacturer of the above, during the time they 
were known to the profession solely under the name 
of “ Brown’s Patent,” has made arrangements with 
Messrs. Winsor and Newton, of 38, Rathbone-place, 
by which that firm are supplied by him with Tubes 
Of the same description as those so long supplied by 
J. Rand to Mr. Brown.— August 1st, 1842. 

WINSOR and NEWTON, of 38, RATHBONE- 
PLACE, respectfully announce, that they have on sale 
Oil Colours in Rand’s Patent Collapsible Tubes, whole- 
sale, retail, and for exportation. 

ELEGANT AND ORNAMENTED PICTURE 
FBAME8 w OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• corner of Mitre-court, Temple, opposite Fetter- 
lane. begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Priceeattacbed 
to the various Frames, sent gratis and freeof postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders firom the country punctually at- 
tended to. ESTABLISHED 1792. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAME9, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, jnade ex- 
pressly for this Manufactory, may be had gratia, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy, 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All good* taken back, not approved of in 
three months. 

P OOLOO’S CHINESE CEMENT. — The 
extraordinary properties of this Composition 
make it one of the moat useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Gla*s, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, fiic.— Sold, wholesale and 
retail, in bottles at Is. fid., 2s. 6d., 4s. 6a., and 7s. 6d., 
by the Proprietor’s sole agents, BIOFELD and Co., 
Cutlers and Kazormakers, 6, Middle-row, Holborn; and 
by their appointment, at the principal Chemists and 
Perfumers. BLOPELD’S London made Table Knives, 
at BLOFELD and Co.’s, fi. Middle-row, Holborn. 

HE~TRG U S ! SATURDAY EVENING 
FAMILY CONSERVATIVE NEWSPAPER. 
Forty-Eight Columns ! Price Sixpence ! 

The ARGUS is esteemed the Leading Family News- 
paper, and noted for its staunch and independent Con- 
servative Principles, aspires to be considered in quality, 
as in quantity, the most complete Weekly Newspaper, 
interesting alike to the Politician and the Lover of lite- 
rature— the Man of Business and the Man of Leisure— 
at the Club and in the Drawing-room— in the Counting- 
house and the Family Circle— in the Gentleman’s Study 
and the Lady’s Boudoir. Nothing that can interest or 
inform its readers is neglected, firom business of the 
highest import to the lightest and most amusing chit- 
chat ; whilst it* pages are unsullied by aught that can 
offend the most fatidious delicacy. It contains every 
week from 

SIXTEEN to TWENTY COLUMNS of ORIGINAL 
MATTER, and its 

SIXTEEN CLOSELY PRINTED PAGES 
present a perfect transcript of the week's occurrences t 
whilst its sources of early information give it additional 
superiority, and the powers of its numerous and able 
contributors (including many of the foremost writers 
of the day) ore warmly devoted to the advocacy aud 
support of our great National Interests in opposition 
to the view** of the factious Liberalism which seeks 
their Destruction. 

The ARGUS is the strong and consistent advocate of 
the AGRICULTURAL CLASSES! 

V The regular transmission of a weekly Letter to 
Thb A nous from an able and intelligent Contributor 
resident in Paris, with whom arrangements have been 
recently made, enables tbe Editor to afford his readers 
the latest news, both of light and of graver interest, 
together with ail the on ditt and the latest fashionable 
intelligence from tbe French Capital. 

To be had of all News-agents in Town and Country. 
Agents treated with on liberal Terms.— Office, 2, Cathe- 
rine-street, Strand. 


Digitized by vj( jogie 


220 THE ART-UNION. [S*pt., ims. 


NOW IN COURSE OF PUBLICATION, 

THE 

BOOK OF BRITISH BALLADS. 

EDITED BY S. C. HALL, ESQ., F.S.A. 


The Work will consist of British Ballads taken frotn the collections of Percy, Evans, Ritson, Pinkerton, Scott, Mothbrwbli., 
Jamieson, Buchan, Herd, and others, by whom they have been gathered with so much industry and care ; and, also, from sources comparatively, 
unexplored by the general reader. No attempt has, hitherto, been made to select, and arrange in a popular form, the best of these Ballads from the 
several volumes in which they are scattered, and where they are mixed up with a mass of inferior, or objectionable compositions. 

The Work will be issued in Monthly Parts, small Quarto ; the Part will consist of five sheets — forty pages; and bvbry pagb will contain an 
Illustration engraved on wood, in the finest style of which the Art is capable. 

The present intention of the Editor is to complete the Work in Twelve Five Shilling Parts. 

Part I., published on the First of June, contains the ballads of— 

CHBVY CHASE; illustrated by J. Franklin ; the Engravings by Linton, Smith, Landklls, Armstrong, &c. 

THE CHILDREN IN THE WOOD; illustrated by J. R. Herbert, A. R. A.; engraved by Grbkn. 

FAIR ROSAMOND; illustrated by J. Franklin ; engraved by T. Williams, Min Williams, Walmsley, Evans, &c. 

THE DF.MON LOVER; illustrated by J. Gilbert; engraved by Folk a rd and Bastin. 

THE NUT-BROWN MAYD; illustrated by T. CREswict ; engraved by S. and J. Williams. 

Part II. contains — 

THE NUT-BROWN MAYD (concluded); illustrated by T. Creswick, W. B. Scott, and 8. Williams; engraved by Williams, Landklls, and Vixktkllt. 

KEMPION ; illustrated by W. B. Scott ; engraved by Smith and Linton. 

THE CHILD OF ELLE ; illustrated by J. Franklin ; engraved by Williams. 

THE TWA BROTHERS ; illustrated by W. P. Frith ; engraved by Bastin. 

THE BLIND BEGGAR ; illustrated by J. Gilbert / engraved by Vizbtelly. 

Part III. contains— 

THE BLIND BEGGAR (concluded); illustrated by J. Gilbert; engraved by Vizktklly. 

ROBIN GOODFELLOW; illustrated by R. Dadds; engraved by Green. 

8IR PARTICK SPENS; illustrated by J. Franklin ; engraved by Armstrong. 

GIL MORICE ; illustrated by K. Meadows; engraved by Smith and Linton. 

SIR ALDINGAR; illustrated by J. Gilbert ; engraved by Gilks and Folkard. 

SIR LAUNCELOT DU LAKE; illustrated by K. Corbould ; engraved by Smith and Linton. 

Part IV. contains — 

SIR LAUNCELOT DU LAKE (concluded); illustrated by E. Corbould. 

KING ARTHUR’S DEATH; illustrated by J. Franklin. 

THE HEIRE OF LINNS; illustrated by E. M. Ward. 

LORD SOULIS; illustrated by R. Mc.Ian. 

LORD THOMAS AND FAIR ANNET; illustrated by H. T. Townsend. 

Each ballad will be preceded by two pages ; giving its history, and supplying such information concerning it as the Editor may be enabled to 
obtain. Into these pages will be introduced, generally, the airs to which the ballads were sung ; and any pictorial illustrations that may aerre to 
explain the text. 

“ Nothing can be better than the manner in 

which the plan is executed The engravings 

are extremely beautiftil ; the editor has performed 
his port with taste and judgment ; and the work 
is got up in an admirable manner. This publica- 
tion cannot fail to be a general favourite. The 
old ballads were and are popular compositions in 
the best sense of the phrase. Their vigour and 
feeling are essentially English, and more man once 
English poetry has drawn new life from the same 
original sources. It is sufficiently known how 
deeply the ballad poetry entered into the minds of 
Shakspeare and Scott, and through them effected 
the two greatest ages of our literature. It is both 
pleasant and profitable to recur ofteu to the foun- 
tains at which such men loved to drink, and the 
reader can hardly do it anywhere with so much 
luxurious enjoyment as in the “ Book of British 
Ballads.’ ” — Morning Chronicle. 

** This promises to be a brilliant of the first water, 
even among the many lustrous gems which adorn 
the pictorial literature of the day. John Bull. 


LONDON : HOW AND PARSONS, 133, FLEET STREET*. 

— - _ - j - - ■ - 

London:— Printed at the Office ot Palmer and Clayton, 10, Crane Court, Fleet Street, and PubKabed by T^ovr ^md Parsons, 130, fleet Street,— September 1, IMS. 


M The design of this beautiful book is to illus- 
trate the national ballads of Britain by British 
artists, as the ballads of Germany have teen illus- 
trated by German artists : but instead of the etch- 
ings of 1 Die Lieber und Bilder/ the * Book of 
British Ballads’ is embellished with wood-engrav- 
ings, executed in the most finished manner. The 
selection of old ballads is a popular one ; they are 
culled from the various collections, not for their 
antiquity but their interest ; each is collated with 
the original, and prefaced by an introductory notice 
of its history ; and they are all profusely illus- 
trated, every page being fairly divided between the ■ 
verses and the designs, the head and tail pieces to 
each respectively filling nearly an entire page. The 
typography is handsome, and the fanciful border- 
ings give a finished appearance to the pages.” — 
Spectator. 

“ We have seldom seen, even at the present day, 
when ornament is so much the fashion, a more 
beautifully -illustrated work than Mr. Hall’s- 
* British Ballads.’ More chaste and appropriate 


than Lockhart’s Spanish collection, without it* 
glare and pretension, the arabesque borders, initial 
letters, and vignettes are exquisite. Mr. Hall s 
notes and introductions show careful readin g and 
industry, and he has evidently performed his agree- 
able task con amove. There is such a wide field 
still left that we anxiously look for new numbers 
in which to see enshrined some of oar old fa- 
vourites .” — Morning Herald. 

“ This is, without any exception, the most taste- 
ful anabeautiful publication of its class we hare 
met with, and, if it does not prove too good for the 
ordinary public, cannot fail of meeting with g reat 
success. The plan appears to have been arranged 
with much judgment. The intention of the 
editor seems to he to illustrate, in the most ex- 
quisite style, so far as the capabilities of wood 
engraving can go, all the best and most deservedly 
popular ballads in our language, from the ruder 
ages of minstrelsy down to our more polished 
I times .”— Uni ted Service Gazette. 


THE ART-UNION. 


PAINTING 

SCULPTURE 

ENGRAVING 

ARCHITECTURE 

&C. &C. &c. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. tee. he. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 45. 


LONDON: OCTOBER 1, 1842. 


Prick 1*. 


THIS JOURNAL BRING STAMPED, CIRCULATES, POSTAGE FREE, TO ALL PARTS OF THE UNITED KINGDOM. 


A RTISTS who require an IMMEDIATE 
SALE for their WORKS, and others who have 
PAINTINGS for DISPOSAL, are informed that J. A. 
Smith SELLS on COMMISSION, for artists and 
others, at the rate of 10 per cent on the price fixed. 
J. A. S. does business with most of the principal dealers 
in London, and has also a (rood private connexion. 
No. 9, Russell-coart, Catherine-street, Strand. 

RESPECTIVE and DRAWING MODELS 
for TEACHING ELEMENTARY PRACTICAL 
PERSPECTIVE DRAWING, LIGHT and SHADE, 
&c. Acknowledged, generally, as the best possible in- 
troduction to Landscape Drawing upon certain princi- 
ples. Being composed of Geometrical and separata 
Pieces, are capable of many hundred variations. Illus- 
trated and complete in box! price 4\ la. Extra Large 
of the above made for Schools, Classes, &c., price 
£1 a*. 

SMITH AND WARNER, 34, Marylebone-street, 
Regent's Quadrant. 

Now ready, for the Sketching Season, 

S HADE'S NEW PATENT PERSPECTIVE 
DELINEATOR and SKETCHING APPA- 
RATUS ; by means of which Landscapes and all other 
objects can be drawn in true Perspective, with the 
utmost facility, without previous knowledge, and with 
the same ease as writing a letter. Drawings can be 
enlarged or diminished with certainty by the simplest 
means, and os many copies of it obtained as required 
with unerring correctness. No obscurity of the pencil 
as in previous instruments. 

Price 41 Us. 6 d., or fitted up for out-door Sketching 
43 3s., with seat and every necessary convenience, 
rendered compact and light to suit Ladies, Pedestrians, 

Sold at SMITH and WARNER'S, ARTISTS’ REPO- 
SITORY^, MARYLEBONE-STREET, QUADRANT, 
LONDON . 

MR. DICKENS’S VISIT TO AMERICA. 


Chapman and Hall, 186, Strand. 

Just published, in 4to., price 42 2 s., in French boards, 
and on royal paper; with proof impressions of the 
Plates, price 44 4s., half morocco, gut tops, 

D ISCOURSES delivered to the STUDENTS 
of the ROYAL ACADEMY, by Sir Joshua 
Reynolds. Illustrated by Explanatory Notes, and 
Twelve Plates. By John Burnet, F.R.S., Author of 
“ Hints on Painting," in 4to., price 44 10 s. 

James Carpenter, Ola Bond-street. 

On October 1 , will be published, Part I., royal 4to., 
price 4s., 

A ncient and modern architec- 
ture*, consisting of Views, Plans, Elevations, 
Sections, and Details of the most remarkable Edifices 
in the world : with Archeological and Descriptive 
Notices, by Messrs. Jomard, Cham poll ion- Figeac, An- 
glo is, Albert Lenoir, Raoul Rochette, L. Vaudoyer, 
8cc. 8c c. Translated and Revised by Mr. F. Arundale ; 
Edited by M. Jules Gailhabaud. The work will be 
published in Monthly Parts, each containing four 
nighly-flnished Steel Engravings, with four or eight 
pages of descriptive Letter-press, printed in royal 
4 to. The price of each number will be four shillings. 

London: Firmin Didot and Co., Amen Corner, 
Paternoster Row. Sold by Ackermann and Co., 
Strand; J. Weale, High Holborn; Simpkin, Marshall, 
and Co. 


T he book of german ballads, 

NATIONAL AIRS, DRINKING SONGS, 8k., 
forming a Companion Volume to the “Lieder und 
Bilder," or the songs of a Painter ; illustrated with 30 
highly finished Etchings on Steel by the most eminent 
Artists of Germany, in the style of Nenreuther, Retzsch, 
and Sonderland. In Royal 4to., price One Guinea. In 
order to secure early impresaiona an immediate appli- 
cation is necessary. 

The volume, publiahed some years ago under the 
title of “ Lieder und Bilder," or Songs of a Painter, 
having attained so ranch popularity, the Publisher 
has been induced to yield to the repeated entreaties 
of the Public and his Friends to bring out a Companion 
Volume, in a similar manner, illustrating the well 
known Ballads, National Airs, Drinking Songs, 8c c., 
of Germany. The undermentioned list will show, that 
the most distinguished artists have contributed to the 
illustration of this beautiful and interesting work: 
Jac. Becker, Campbausen, Canton, C. Clasen, Diel- 
mann, E. Ebera, Fay. Haaendever, C. Hubner, Jacobi, 
Jordan, Kiederich, KOrner, Kretsschmer, Meyer, v. 
Norm ann, Pluddemann, Pose, Rethel, Ritter, Scheuren, 
Professor J. W. Schirmer, Schrader, Ad. SchrOder, 
Sonderland, Otto Speckter, Steinbruck, Volkhardt, and 
others. 

A few copies of the “ Lieder und Bilder,” or Songs 
of a Painter, are still on hand. 

Published for the Proprietor by H. Hiring, German 
Repository of Art, 9, Newman-atreet, Oxford-street, 
London. 

Just published, price 16s., 

T HE SKETCHER’S GUIDE; a light and 
portable Apparatus for Drawing Landscape, and 
other Outlines, m Perspective, without Elementary 
Knowledge. To which is added, a Compendium of the 
Rules of Perspective and Effect. 

By W. F. Elliot, Esq. 

There are few persona, unacquainted with the art of 
Drawing, but have (either when travelling, or at other 
periods of their lives) had frequent occasion to lament 
that deficiency. The difficulties in the way of sketch- 


and hitherto so forcibly felt, as to be considered in- 
superable. Messrs. Fuller, however, are happy to an- 
nounce, that, in “ The Sketcher'a Guide," they have 
perfected an apparatus, extremely simple, and as porta- 
ble as a hand-book, by means of whicn those obstacles 
are overcome ; and any person, by simply attending to 
the printed instructions, may draw Landscapes, or outer 
objects, as faithfully as they are presented to the eye. 

And, in order to simplify and encourage the study of 
Perepectiveand pictorial Composition, they have added 
to the above a Synopsis of the Rules of Perspective and 


Effect; clearly and popularly written, and containing 
numeroos Illustrative Examples. 

To persons travelling, either on the Continent or 
elsewhere, “ The Sketcher’a Guide" will be an inva- 
luable companion ; as, by its assistance, there is not a 
single scene of interest but may be secured, to givn 
birth to pleasurable, if not useful, reminiscences at 
some future period. The student in Drawing and Per- 
spective will also find it an important help. It will 
facilitate his progress by demonstrating practically the 
application or the rules he may have learnt theoretically. 
At the same time, the letter-press and illustrations will 
teach him the most approved methods of combining 
and treating his subjects to compote a picture. 

Orders should be immediately given to Messrs. Ful- 
ler, 34, Rathbone-place, or through any Book or Print- 
seller in Town or Country. 

London: Published by S. and J. Fuller, at their 
Temple of Fancy and Artists' Repository, 34, Rath- 
bone-place. 


GWILT’S ENCYCLOPAEDIA OF ARCHITECTURE. 
In October will be published, in one thick volume, 
8 vo. with upwards of 1000 Engravings, handsomely 
bound in cloth, 

A n encyclopaedia of architec- 
ture, HISTORICAL, THEORETICAL, and 
PRACTICAL. By Joseph Gwilt. Illustrated with 
upwards of 1000 Engravings on Wood, from Designs by 
J. S. Gwilt. 

London : Longman, Brown, Green, and Longmans. 

Just published, imperial 8 vo., handsomely bound, 24s., 

T HE USE of a BOX of COLOURS. By 
HARav Willson, author of “ Fugitive Sketches 
in Rome, Venice,” See. 8k. Being Practical Instruc- 
tion on Composition, Light and Shade, and Painting. 
Illustrated with beautiful Patent Lithotint examples, 
plain and coloured. Also a Box of general Landscape 
Tints have been prepared to accompany the same. 

Loudon : Smith and Warner, 34, Marylebone-street, 
Regent’s Quadrant ; Tilt and Bogue, Fleet-street ; and 
all other Publishers, Stationers, See. 

UNDER THE SUPERINTENDENCE OF THE 
COUNCIL OF THE GOVERMBNT SCHOOL OF 
DESIGN AT SOMERSET HOUSE. 

This day, October 1 (to be continued every alternate 
Month), price 8 a. 6 cL, 

T HE Third Number of a DRAWING-BOOK 5 
containing Elementary Instructions in Drawing, 
and must rating the Principles of Design as applied to 
Ornamental Art. 

This work will be published in Numbers, and the 
Council have arranged that it should be sold at a price 
little exceeding the cost of production, so that, as far 
as possible, it may come within the reach of all classes 
of persons desirous of instruction in Drawing and the 
Art of Design. 

The First Part is to be devoted to elementary in- 
struction, and will exhibit a course of Outline Drawing 
(including both Geometrical and Free-hand Drawing) 
and Shadowing, illustrated by numerous examples, as 
well modern as ancient, so as to form a complete course 
of instruction in ornamental design, preliminary to 
drawing from nature. The aeries of examples for out- 
line drawing will be comprised in about Four Numbers, 
each containing Fifteen Sheets, accompanied by 
descriptive Letter-press, price 3s. 6 a. 

Chapman and Hall, 186, Strand. 


O AK CARVINGS for CHURCH 
DECORATIONS, &c.— Messrs. BRA ITH WAITE 
and CO., Proprietors of tbe patent method of CARV- 
ING in SOLID WOOD, beg leave to invite the No- 
bility, Clergy, and Architects, to view their Specimens 
of Oak Carvings, suitable to the Gothic Embellish- 
ments of Cathedrals and Churches, such as Stalls, 
Panelling, enriched Tracery, Chairs, Communion-rails, 
Tables, Altar-screens, Pulpits, Reading-desks, Lecterns, 
Stall-heads, Finials, Organ-screens, Gallery-fronts, &c« 
at one half the price usually charged. 

Estimates given, and contracts entered into, for the 
entire fitting- up, restoration, or repairs, of any Ca- 
thedral, Church, or Mansion. 

By their process a most important saving in expense 
and time will be found in tbe fitting or repairs of 
Churches or Mansions, either in the Gothic or Kliva- 


Coats of Arms, Mouldinrs. 8cc. t 81 c.— No. 5, HEN- 
RIKTTA-STUEET, COVENT-GARDEN. 


Digitized by 



222 


THE ART-UNION, 


[Oct. 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• corner of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtaiu A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, the Size and Prices attached 
to the various Frames, sent gratis and freeof postage to 
any part of the United Kingdom. 

Old Frames re-gilt ; large and small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M' LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the very best manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory, may be had gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 

T o miniature’ paintersT &cT— \V. 

WARRINER, 39, GREAT CASTLE-STREET. 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sizes, shapes, and patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists ana others who have undeviatingly 
patronised him ; begs further to inform them that he 
lias a variety of new patterns, which, for quality and 


order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

RAND’S PATENT 

METALLIC COLLAPSIBLE TUBES 

FOR OIL COLO URS. 

J RAND, the Inventor, Patentee, and sole 
• Manufacturer of the above, during the time they 
were known to the profession solely under the name 
of “ Brown’s Patent,” has made arrangements with 
Messrs. Winsor and Newton, of 38, Rathbone-place, 
by which that firm are supplied by him with Tubes 
of the same description as those so long supplied by 
J. Rand to Mr. Brown.— August 1st, 1842. 

WINSOR and NEWTON, of 38, RATHBONE- 
PLACE, respectfully announce, that they have on sale 
Oil Colours in Rand’s Patent Collapsible Tubes, whole- 
sale, retail, and for exportation. 

THE PATENT EASEL. _ 

W INSOR and NEWTON respectfully in- 
form the Profession and the Public, that this 
admirably-constructed Easel, the invention of M. Bon- 
hommk, of Paris, is manufactured by them with con- 
siderable improvements on the French model, and 
with the advantage of the best English workmanship. 

W. and N. are induced to submit this Easel to the 
Profession in England by the high encomiums and 
great patronage bestowed upon it in France, where the 
ingenious Inventor, not only obtained a prize for the 
merits of his Easel at the National Exposition of Manu- 
factures and inventions, but also received from the 
Government a liberal reward for the assistance he ren- 
dered to the Professors of Art. 

Though possessing the advantages of the largest 
Easels, by standing firmly and holding steadily paint- 
ings of a very large size, M. Bonhomme’s invention 
occupies no more space than the smallest of the Artists’ 
Easels now in use, and certainly not so much as the 
greater namber of them. 

The position and height of a painting may be ad- 
justed with the utmost facility by u novel arrangement, 
which permits even unusually large works to be, when 
placed on this Easel, as much under control as smaller 
ones. The painting can also be Rloped or thrown for- 
ward to any angle most favourable for the view, and 
this forward inclination can be adjusted with ease and 
exactness. 

It presents a neat and even elegant appearance, and 
is peculiarly fitted as well for all purposes of exhibition 
ns for the studio; affording the utmost convenience for 
the advantageous display of large or small works. 
The connoisseur who desires to exhibit his gems of Art 
in a manner ndapted to make the most favourable im- 
pression, obtains in the improvements here brought 
tor ward au auxiliary hitherto murh required. 

The Easel to be seen at WINSOR and NEWTON’S. 
Artists’ Colourmen to Her Majesty and His Royal 
Highness Prince Albert, 38, Rathbone-place, London. 


N ewly invented sketching 

PENCILS. 

BB. Very black for the foreground. 

HB. Middle tint. 

N. Neutral tint, for distance. 

E. WOLFF anti SON beg to recommend their new 
invented BLACK CHALK PENCILS and CRAYONS, 
which will not rub off or smear. They are richer in 
colour and superior in working to any other Pencil 
hitherto known. The great advantage derived from 
these Chalks, are their capability of producing effect 
with little labour, combined with their adhesive quali- 
ties, which will admit of the drawings being kept in a 
portfolio without fear of smearing. 

May be had of all Artists, Colourmen, and Stationers ; 
and at the Manufacturer’s, 23, CHURCH-STREET, 
SPITALFIELDS. 

C HIMNEY GLASSES. PICTURE 
FRAMES, CHEVAL and TOILET GLASSES, 
CONSOLE TABLES, WINDOW CORNICES. 
SCREENS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 


by any other manufacturer, by F. uakbanati, 

I WORKING CARVER and GILDER, 19, ST. MAR- 
TIN’S-COURT, St. Martin’s-lane.—P. G. manufactur- 
ing every article on the premises, is thereby enabled to 
offer them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of charge. A list of the 
prices of Plate Glass, &c. sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on hand, at reduced 
prices. 

OTICE.— PATENT RELIEVO LEATHER 
HANGINGS and CARTON-TOILR OFFICE, 
52, Regent- street, next to the County Fire Office.—' The 
Nobility and Public are respectfully informed, that our 
Works of Art in the PATENT RELIEVO LEATHERS, 
the CARTON-TOILE, &c., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 52, 
Regent-street, where an immense number of Designs 
are constantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels, Caryatides, 
Foliage, Patterns, Busts, Mouldings, Book Covers, 
Album Covers, Screens, &c., &c., in every style of 
Decoration, and for every possible use to which orna- 
mental leathers can be applied, and at a considerable 
reduction in price. We beg to notice, that this Firm 
only will continue to receive monthly from us all new 
Patterns and Designs in our manufactures. 

L. COMETH and CO., 10, Rue Basse du Rem part, 
Paris.— May 25, 1842. 

DIMES AND CO. (late WARING and DIMES), 
ARTISTS’ COLOURMEN, 91, GREAT RUSSELL- 
STREET, BLOOMSBURY. 

F DIMES begs to inform the Profession, 
• that the PARTNERSHIP subsisting between 
himself and Mr. George Waring has been DISSOLVED 
by mutual consent, and that in future the Business will 
be continued under the name of DIMES and CO. 

To those Gentlemen who have given their patronage 
to the late firm, he begs to return his grateful acknow- 
ledgments, trusting to have their continued support, 
assuring them that all the articles he manufactures and 
sells shall receive every attention to insure the best 
quality. Subjoined is enumerated a few Articles, to 
which attention is respectfully requested :— 

CANVASS WITH INDIA RUBBER GROUND.— 
The eligibility of this article having been thoroughly 
acknowledged, and it having received the patronage of 
the first artists in the kingdom, those gentlemen who 
desire that the labours of their pencils should be pre- 
served from the effects of time (too visible in some of 
the finest productions of the Art), this Canvass is par- 
ticularly recommended, as it is never subject to crack 
or peel, and t be surface is very agreeable to paint on. 

HAND'S PATENT COLLAPSIBLE METALLIC 
TUBES FOR OIL COLOURS.— Mr. J. Rand, toe In- 
ventor and Patentee, and Manufacturer of the Collap- 
sible Metallic Tubes, having thrown them open to the 
trade, D. and Co. beg to state that they can supply 
them filled with oil colours in any quantity; also, tubes 
of Varnishes, M‘Guelp, and Aspbaltum. 

Zinc Tablets for Fainting in Oil.— The surfaces of 
these Tablets are well adapted for highly-finished paint- 
ings, and superior to panels or milled boards. 

Water-Colours in Cakes or Moist, tilled in mahogany 
or japanned boxes for sketching. 

Whatman’s Drawing Paper, ull sizes and thicknesses. 
J. D. H., ditto. 

Tinted or Academy Paper, in great variety of tints 
for chalk or pencil. 

Genuine Cumberland Lead Pencils, warranted of 
pure lead. 

Chalks and Crayons of all descriptions. 

French, Hog, and Sable Hair Brushes for Oil and 
Water-Colour Painting. 

Marble Slabs mounted, prepared for Miniature Paint- 
ing. 

Drawing Boards, Easels, T Squares, and every article 
for Architectural Draughtsmen. 

Drawings and Paintings lent to copy. 


GARBANATI 


SKETCHING SEASON. 

A QUAOLEUM, or a new Preparation of 
MOIST COLOURS to give the effect of either 
Oil or Water-Colour Painting. 

Invented by GEORGE ROWNEY and CO , Colour 
Manufacturers to Artists, 51, Rathbone-place, London. 

These Colours may be used either on Canvass, 
Millboard, Panel, or Paper. If used as Water Colours, 
water is the only medium required; but if to present 
the effect of Oil Painting, a macgeulp prepared ex- 
pressly for the purpose is necessary : they are applica- 
ble to any style of painting, but most particularly 
useful in sketching from nature. The dislike that 
many person (especially ladies) have to oil colours, on 
account of their smell, is here entirely avoided, as they 
have rather a pleasant orlour, aud anystainor soil from 
them may be removed with water. They dry nearly as 
fast as water colours, but if the evaporation be too 
rapid, it may be controlled by the use of the macgeolp. 
The sketches, if done to represent oil colours, may be 
varnished as soon as dry. 

These Colours are sold in compressible tubes, or in 
small earthenware pans, and are called Aquaoleum, or 
a new Preparation of Moist Colours, and sold at the 
usual charges of Cake Colours generally. 

N.B. — Specimens may be seen in the different styles 
to which they are applicable, and printed directions 
furnished with the article. 

PAINTING IN OIL 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH. MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN bega 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and liis predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to aopply all the 
Presidents to the present time. 

These Tubes combine the advanUj^et of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
words “ BROWN’S PATENT” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 

M ILLER’S SILICA COLOURS. 

The daily increasing patronage bestowed on these 
Colours by Artists of the first eminence, while it is 
gratifying in the highest degree to the inventor, it, at 
the same time, an acknowledgment of the soundness of 
those principles upon which they are manufactured. 
It will bo sufficient to repeat that, being composed of 
substances identical or similar to those used by the old 
masters (the brilliancy of whose works, after the lapse 
of centuries, is an incontestible proof of the superiority 
of ancient colouring), the Silica Colours will ever 
retain their freshness, transiency, and gem-like 
lustre uninjured by atmospheric infiuence and unim- 
paired by time. 

Prepared for Oil and Water-Colour Painting of the 
under-mentioned tints, viz : 

Pale and Deep Red. 

Pale and Deep Blue. Pale and Deep Yellow. 

Pale and Deep Orange. Pale and Deep Purple. 

Pale and Deep Green. Pale and Deep Brown. 

White and Half Tint. Grey and Black. 

VAN EYCK’S GLASS MEDIUM. 

FOR OIL PAINTING. 

No. 1. For first and second painting. 

No. 2. For third painting, finishing, and glazing. 

Any of the above Media may be thinned, according 
to the taste of the Artist, with Miller’s Florentine Oil. 

MILLER’S GLASS MEDIUM. 

FOR WATER-COLOUR PAINTING. 

! No. 1. For first colouring. 

No. 2. For second colouring, glazing, and finishing. 
T. M. begs to call the attention of Artists to his new 
Drawing-Paper, made of pure linen only, without under- 
going any chemical process. 

MILLER’S Artists’ Colour Manufactory, 
l 56, Long-acrk, London. 


Digitized by 


1842 .] 


THE ART-UNION 


223 


! 

i THE ART-UNION. 



LONDON, OCTOBER 1, 1842. 


CONTENTS. 


1. NOTES ON BRITISH COSTUME 223 

2. THE SUBJECT OF ANCIENT GROUNDS .. .. 229 

3. ARCHITECTURE AROUND THE BANK .. .. 231 

4. THE PROVINCIAL EXHIBITIONS : 


LIVERPOOL; MANCHESTER; BIR- 
MINGHAM; BIRMINGHAM SOCIETY 

op arts; Norwich; Plymouth; 

YORK; BELFAST; ROYAL IRISH ART- 


UNION 236 

5. THE ARTS IN CONTINENTAL STATES : 

ITALY*, PRANCE; GERMANY; ST. 
PETERSBURGH ; AMERICA 237 

6. CORRESPONDENCE: 


METALLURGY AS A FINE ART; THE 
“CONTRAST” OF COLOURS DEPEND- 
ENT UPON PHYSICAL CAUSES, NOT A 
MATTER OF TASTE; VEHICLES; TO 


BLEACH AND PURIFY jUINSKED OIL .. 238 

7. RHYMES ON ART-ISTS 238 

8. THE WORKS OF WILKIE 239 

9. OBITUARY 239 

10. VARIETIES: 


THE ROYAL COMMISSION*, IMPORTED 
PICTURES; THE SOCIETY OF BRITISH 
ARTISTS; ART-UNIONS OF GERMANY; 

SCHOOL OF art; the art-union ex- 
hibition; MODELS IN CLAY; SALKS 

OF THE MONTH 

11. REVIEW OF PUBLISHED WORKS • 

OWEN’S ETCHINGS; THE GEMS OF 
STUART NEWTON; THE TRIAL OF 
EARL STRAFFORD ; PORTRAITS OF 
THE ROYAL FAMILY, AND MOST DIS- 
TINGUISHED NOBLES, &C. &C. 243 


NOTES ON BRITISH COSTUME. 

PART THE FIRST. 

BY FREDERICK W. FAIRHOLT. 

A correct knowledge of costume has become an 
acknowledged essential to the historical painter. 
The reign of imaginary costume is rapidly reach- 
ing its close. A conviction of the necessity and 
value of “ truth,” in this particular, has been the 
slow growth of the last half century. A deaf ear 
was long turned to the urgency of critical antiqua- 
rians by whom it had been studied. Assertions 
were constantly made of the impossibility of ac- 
complishing their desires, and twice the necessary 
amount of trouble was taken in inventing a 
heterogenous costume than would have been re- 
quired to procure accuracy. This fault pervades 
the whole series of engravings in a well-known 
national work — the prints to Boydell’s Shak- 
spere ; it is in fact almost an entire anachronism ; 
the figures exhibit costume and armour utterly 
unknown to the age in which they lived, and are 
not unfrequently represented in dresses that 
never had been worn by anybody at any time, 
being a mere fanciful compound of those of va- 
rious epochs. Similar cases might easily be mul- 
tiplied; they are, in fact, nearly as numerous as 
our productions in historic art ; but a reference 
to this great work will suffice, as it may be pre- 
sumed to hare had no small influence upon na- 
tional taste. 

We owe to our continental neighbours the 
advantages derived from an impetus given 
to the study : to their accurate delineations of 
historic scenes we are mainly indebted for the 
more correct pictures now given to the world, 
and for directing and enforcing by example the 
pursuit of accuracy in all the accessories of histo- 
rical painting. Bnt while we have abundant au- 
thorities for the faithful delineation of every event 
in our national history, it is much to be regretted 


that many of our works, professedly accurate 
guides to costume, are in reality seldom to be 
depended on. The name of Strutt ought never 
to be mentioned without reverence, because of 
his unceasing exertions on this subject, as well 
as in regard to the manners of onr ancestors in 
general ; but even he is not fully to be depended 
on for his dates, and has often misled the student 
by confounding the costume of one century with 
that of another. Other authors have trusted 
for early costume to snch vague grounds as 
antique coins, of so barbarous a character, and 
avowedly copied from badly executed represent- 
ations, that they may be almost considered as 
little better than mere inventions. Dated de- 
signs and monumental effigies, or actual relics 
of still earlier periods, have been left for our own 
age to study and compare, and thus to arrive at 
truth. The “ Monumental Effigies” of the late 
C. A. Stothard paved the way to an accuracy of de- 
lineation hitherto unknown ; and the feeling and 
character of the original sculptures were so beau- 
tifully preserved by him, that an eye familiar 
with such matters can immediately detect, by 
the general style that pervades it, the period at 
which the original may have been executed. Mr. 
Planch^, in his excellent little “ History of Bri- 
tish Costume,” attending also solely to the evi- 
dences of fact, for the first time directed the stu- 
dent safely on his course, and gave him the true 
test by which he might detect the proper costume 
of any period. Good illustrations are, however, 
wanted in this work ; and the only book we pos- 
sess, that rightly combines art and literature, is 
Shaw’s “ Dresses and Decorations, from the 
Seventh to the Seventeenth Centuries,” now 
publishing, the plates in which, being correct 
fac-similes, may be relied upon.* 

The increased taste for the study of correct cos- 
tume and its absolute " essentiality ” to the 
artist, render it matter of deep regret that there 
i9 no library or collection of prints devoted 
exclusively to his use ; and which might be under 
the superintendence of some person, who, while 
instructing him upon what he might depend, 
would also caution him against these professedly 
correct works upon which no dependence is to be 
placed — the one being quite as necessary as the 
other. The Royal Academy would surely profit by 
snch an arrangement ; and a great deal of valu- 
able time would be saved by the artist, who has 
now to hunt almost without a guide for that 
which has become an important part of his pro- 
fession. The great expense of the necessary books 
is no small hinderance to the many ; but an in- 
fluential body collecting such works, under the 
guidance of a person who could separate the 
good from the bad, and arrange his examples, ;n 
which might be included specimens (taken off by 
surface friction) of the brasses in our churches, 
and directing the collecting of them before they 
are totally destroyed, t thus rendering them avail- 
able for general use, would be conferring a vast 
benefit. In our theatres such persons are actually 
employed. It is absurd that the artist, whose 
painting is less evanescent than the scenes of 
a drama, and is destined to last for centuries, 
should not have equal, or greater, advantages. 

The proposal for fresco paintings with which 
to decorate our new Houses of Parliament, and the 

* It frequently happens, that what is but a little bad 
drawing or false perspective, it altered into an import- 
ant feature in modernising too freely from rudely- 
drawn originals. Thus I have seen the off-side of the 
rim of a helmet, in which the line has been carried 
down the side of the face in attempting to give it the 
effect of going round the head, converted into an over- 
lapping protection to the nose ; and so forth. 

t “ The Turks broke up the Elgin marbles to make 
mortar for their Athenian hovels, and we call them 
barbarians. These things go on amongst us even now. 
In an old chapel of ease, in the neighbourhood of Strat- 
ford-on-Avon, was, a few years ago, one of the very 
line recumbent figures of a Templar. The figure was 
missed by a clergyman who sometimes visited the place, 
and he asked the sexton what had become of it. The 
answer was, “ What ! that crossed-legged chap ? Oh ! I 
mended the road wi’ he; a saved a deal o’ limestone.” 
— “ William Sbakspere, a Biography,” by Charles 
Knight, p. 99. 


late demand for costume at her Majesty’s “ Bal 
Costum6,” and the generally increasing fashion for 
this matter, add other reasons to those already 
enumerated for canvassing the subject. 

At present the most available sources from 
whence the artist may gather information on this 
head, are the British Museum reading and print 
rooms, Westminster Abbey, and Hampton Court 
Palace. The British Museum is of course the 
richest store-house. Admission to the library 
may be obtained on application by letter from 
any Member of Parliament, clergyman, or gentle- 
man of name or respectability, whose responsi- 
bility shall be considered as a sufficient guarantee 
for the character of the applicant. Such note, 
addressed to any of the heads of the various 
departments there, will meet with that kind at- 
tention for which these gentlemen are distin- 
guished. An admission to the print-room, by 
the same process, may be obtained from II. Jos6, 
Esq., the keeper. 

The monumental effigies and brasses of West- 
minster Abbey rank next in utility, and open a 
rich field for the student. The written recom- 
mendation of any member of the Royal Academy, 
addressed to the Dean, or the Rev. Mr. Milman, 
will at once obtain the necessary privilege. 

At Hampton Court (rendered easy of access by 
half an hour’s ride on the Southampton Railway), 
is to be found an exceedingly valuable collection 
of ancient pictures, from the time of Henry VII. 
upwards, from which the best examples of cos- 
tume may be obtained. An application to Edw. 
Jesse, Esq., not better known as an author than as 
a gentleman of exceeding urbanity and of obliging 
manners, will obtain full permission to sketch 
from any picture in this extensive collection. 

Many of our churches in London also afford 
fine examples of the dresses of various periods ; 
among which may be instanced St. Saviour’s, 
Southwark ; St. Helen’s, Bishopsgate ; the Temple 
Church, &c. These will be detailed in the course 
of my notes. 

As I have entered the field solely from a desire 
to be useful, my remarks, though necessarily 
brief, I shall take pains to render truthful. No 
conjectures will be admitted, or if necessarily ad- 
mitted, not treated as truths. Ancient authori- 
ties and ancient delineations will be solely con- 
fided in, and in all instances the authorities will 
be fully quoted. As far as possible, fac-similes 
of the original delineations will be given, though 
sometimes glaring errors of drawing may be cor- 
rected ; but this as little as possible : and no change 
of position will be attempted, by which the ge- 
neral effect of the costume, and its form, might 
be misrepresented. All the drawings will be 
made upon the wood for the engraver by myself, 
and a great number will consist of specimens 
now for the first time engraved ; but in all in- 
stances each illustration will be copied from the 
original, whether engraved before or not. Much 
that exists has not been sufficiently made avail- 
able, from the circumstance of their publication 
in books of price, or else scattered through many 
expensive volumes not devoted to the subject. 
These I shall have to collect and refer to. 

For some years I have given close and conti- 
nual attention to this subject, and have carefully- 
noted down all illustrative matters in connexion 
with it. In my endeavours to lay before the 
artist the materials thus collected, I am stimu- 
lated, as I have said, solely by a desire to 
be useful to him, and I shall consider myself 
amply repaid for my labour if I find that 
I have been so. I shall not shrink from any 
sacrifice of time or trouble; my object and 
my hope being that I shall enable the artist 
to save much of both. My purpose is not, 
however, to enter into lengthened disquisitions 
upon, or descriptions of, costume, but rather to 
note the general characteristics of the Several 
epochs, and to direct the artist to the sources — 
in books, illuminated manuscripts, monuments, 
brasses, &c. &c., where he may obtain all the 
information he may require. In short, my de- 


224 


THE ART-UNION 


[Oct., 


V 


sign is to act as a guide rather than a lecturer — 
to show where sufficient knowledge may be ob- 
tained, rather than to seek to communicate it 

THE EARLY BRITONS. 

But little information can be gleaned from the 
writers of antiquity, concerning the dress or 
appearance of the early Britons before the inva- 
sion of Julius Ccesar; a few meagre notices are 
all that we can meet with. From a comparison 
of their accounts, it would seem that, in nearly 
every particular, they bore a striking resem- 
blance to the South-Sea Islanders, as described 
by Captain Cook. According to Pomponius 
Mela, who flourished about the year of our Lord 
45, the Britons dyed their bodies with woad 
(which bore a small flower of a blue colour) after 
they had been tatooed. Herodotus, at a still 
earlier period, declared the same fact, adding, 
“ that it was with them a mark of nobility, and 
its absence a testimony of mean descent.” Pliny 
describes the operation as performed in infancy 
by the wives and nurses of the British; and 
Isidorus says, “They squeeze the juice of cer- 
tain herbs into figures made on their bodies 
with the points of needles.” A comparison of 
these, and other descriptions of the aboriginal 
inhabitants of the British Isles, and an examina- 
tion of the contents of the sepulchral mounds, or 
tumuli, in various English counties, have fur- 
nished the material for the picture of an ancient 
Briton, as given to us by Sir S. R. Meyrick and 
C. H. Smith, Esq., in the work jointly produced 
by these gentlemen on the “ Costume of the Ori- 
ginal Inhabitants of the British Islands.” Their 
words are : — “ The Celtic tribes, in the progress 
of their migrations to the British Isles, had, 
like the inhabitants of the South Sea, lost the 
antediluvian art of working metals ; and the few 
copper weapons which, from its extinction, glit- 
tered as rarities in the hands of their chiefs, dis- 
appeared, in all probability, ere they reached 
their ultimate destination. The Cimbrian sa- 
vage, therefore, of Britain and Ireland, clad 
in the skin of the beast he had slain, issued 
in search of his prey from a cave hollowed by 
nature, or a hut scarcely artificial, which the 
interwoven twigs and leaves presented in a wood. 
His weapons were a bow and some reed arrows, 
headed with flint so shaped as to resemble the 
barbed metal piles of his ancestors, or pointed 
with bones sharpened to an acute edge. To as- 
sist in carrying these missile implements of car- 
nage, he manufactured a quiver from the osier 
twigs that grew at hand ; or he proceeded to the 
chase, for his feats in hunting were but the 
peaceable representations of his deeds in war, 
with the spear and javelin, formed of long bones 
ground to a point, and inserted in an oaken 
shaft, held in the end of which by pegs, they be- 
came formidable weapons. Or he waged the 
savage fight with the death-dealing blows of the 
four-pointed oaken club. His domestic imple- 
ments were a hatchet, sometimes used as a battle- 
axe, formed of an elliptical convexly-shaped 
stone, rounded by the current of a river, which 
he fastened to a handle with the fibres of plants; 
a large flint adze for felling timber, fitted for use 
in the same way, and a powerful stone hammer. 
To these he added a knife, formed also of a shar- 
pened stone. Unbaked earthen vessels, the shells 
of fish, and a few wooden bowls, served to con- 
tain his meat and drink. These were all his pos- 
sessions, save his flocks and herds. The partner 
of his life passed her time in basket-making, or 
in sewing together, with leathern thongs or vege- 
table fibres, the skins of such animals as had 
fallen victims to her husband’s prowess, employ- 
ing for that purpose needles made of bone exactly 
similar to those used for the heads of arrows. 
Clad, by preference, in the skin, if to be pro- 
cured, of the brindled ox, pinned together with 
thorns (a custom still with the Welsh peasantry), 
oruameuted with a necklace formed of jet or 
other beads, and with the wild flowers entwined 


in her long but twisted locks, she attractively 
became the soother of his toils.” 

We are indebted to the researches of Mr. Cun- 
nington Sir Richard Colt Hoare, and the Rev. 
W. Douglas, for the only actual illustrations 
of the arms and ornaments used by our an- 
cestors at this remote period. The two mag- 
nificent volumes published by Sir Richard on 
" Ancient Wiltshire,” abound with specimens 
that, after the lapse of ages, were disinterred 
from the burial places of the early Britons, in that 
most interesting county so rich in relics of remote 
antiquity, while Douglas's “ Nenia Britannia” 
gives us many others of equal interest and 
beauty. The contents of these graves then, are 
the only existing relics remaining to us of those 
early times ; and from them, and the descriptions 
of ancient authors, must the artist realize the ab- 
original inhabitants of Britain. The modes of 
sepulture vary in many of these graves, and that 
circumstance enables the antiquary to decide on 
the priority of each that he investigates. The 
most ancient graves supply us with specimens of 
arrow-heads of flint and lance-heads of bone, 
with stone knives and battle-axes, as used before 
metal ones were introduced, and the art of making 
them was taught in the British Islands by the 
Tyrian traders. 



The central object of the above group is a spear- 
head of bone ; the hole at the bottom received a 
pin of wood or bone, and so fastened it to the 
top of the lance ; at each side is a lance-head 
and dagger or knife, also of bone. Beside them 
are several varieties of stone arrow-heads, chipped 
rudely into their various shapes. Beneath are 
stone battle-axes and knives; the axe heads 


i 



(1, 2, 3,) show the holes through which the 
handles passed. The knife (4) is of the earliest 
form ; similar ones are seen upon the sculptures 
of the ancient Egyptians, by whom they were 
also used, and are held by the hand closed round 
the narrow top of the stone. 

Thus, inartificial ly, lived the ancient Britons, 
until the Phoenician traders arrived, who com- 
municated to them the art of manufacturing 
their warlike implements of metal. Although 
their composition was a mixture of copper and 
tin, and consequently soft and brittle, they were 
much superior, both in appearance and utility, 
to the bone and flint weapons in use before this 
time. The engraving, represents a few of these 
improved implements. 


1 



No. 1 is a sword ; the handle was of horn ; 
and the holes show where the pins that fastened 
it were inserted. No. 2 is a spear-head of bronze, 
showing the socket in which the staff was fixed. 
No. 3 is the hunting spear; the head, and ferrule 
at the butt end, of metal ; the handle of wood. 
No. 4 is also the head of a spear, which was fixed 
upon the staff by a pin passed through the two 
holes at its base. No. 5 is also the head of a 
spear. Moulds for making sireh spears have been 
discovered both in Britain and Ireland ; engrav- 
ings of them may be seen in “ Arch apologia,” 
vol. xiv. and xv.* 


But perhaps one qf the most beautiful imple- 
ments discovered in these tombs is the dagger 
here delineated ; it was found carefully preserved 



in a sheath of wood, lined with cloth, and was 
probably worn at the girdle of some chieftain. 
The wooden handle of another dagger is repre- 
sented under it, and is a remarkable specimen 
of early art, which Sir R. C. Hoare declared, 
“exceeded anything he had yet seen, both in 
design and execution, and could not be sur- 
passed, if indeed equalled, by the most able 
workman of modern times.” In the annexed 
engraving will be immediately recognised the 
British zig-zag, or the modern Vandyke pattern, 
which was formed with a labour and exactness 
almost unaccountable, by thousands of gold ri- 
vets, smaller than the smallest pin. The head of 
the handle, though exhibiting no variety of pat- 
tern, was also formed by the same kind of stud- 
ding. “ So very minute, indeed, were these pins, 
that the labourers had thrown out thousands of 
them with their shovels, and scattered them in 
every direction, before, by the necessary aid of 
the magnifying glass, we could know what they 
were; but, fortunately, enough remained at- 
tached to the wood, to enable us to develop the 
pattern.” A few of these pins, of the actual size, 
are shown in the cut, beside the dagger handle. 
The bronze weapons called celts were axe-heads, 

* “ Archaeologia, or Miscellaneous Tracts relating to 
Antiquity,” is the title of this work, to which 1 shall 
have frequent occasion to refer. It is pubhsbed by ths 
Society of Antiquaries at intervals, and contains those 
papers on antiquities that have been communicated to 
the Society by its members and others. Its publica- 
tion, which commenced in 1770, has continued since ; 
and it has now reached 39 vols. in quarto, containing 
many hundreds of essays on subjects connected with the 
history and antiquities of this country, and the more 
remarkable antiquities of others. As a rich storeboooo 
of materials for the historian, the topographer, and tho 
student in general, it is without a rival. A copy is 
regularly presented to the British Museum by the So- 
ciety, and is kept in the Reading-room there, for tho 
reference of its frequenters. 


1842 .] 


THE ART- UNION. 


225 


and were fixed in handles similar to the stone 
hatchets of the South Sea Islanders. Some few 
are represented in the next cut. 

A singularly curious British shield has been en- 
graved in the 25th volume of the“ Archceologia” of 
the Society of Antiquaries ; it is one of these that 
“ were used by the Britons before the Roman in- 
vasion, and such as they had been taught to manu- 
facture by the Phoenicians ; for when that people 
commenced trading with the Britannic Isles their 
targets were of wicker work, in which the natives 
are said to have excelled, of a circular form, flat, 
and covered with a hide.” The bronze shields were 
called tarians, or dashers, from the sound they 
emitted on coming into collision with an enemy. 



It will be perceived that it was held at arm’s 
length, and a handle with a concavity for that 
purpose is observable on the inside, while the 
latter forms the conical boss without. The 
Anglo-Saxon shield was used in the same man- 
ner, but the umbo, or central knob, was of iron, 
the rest being convex and of wood. The orna- 
ment on this British tarian consists of two series 
of round bosses between concentric circles. All 
the bosses are punched in the metal except four, 
two of which form the rivets to the handle, and 
two are the rivets to the metal extremities appa- 
rently of a strap, these four bosses being conse- 
quently moveable. This interesting object was 
found in October 1836, in the bed of the river 
Isis, between Little Wittenham and Dorchester, 
a neighbourhood that formed the site of many an 
engagement between the early Britons and the 
Roman invaders. It is now in the British Mu- 
seum. By comparing this with the Highland 
target, we shall find that, although the Roman 
mode of putting it on the arm has been adopted 
by these mountaineers, the boss, thus rendered 
useless, is still retained, and the little knobs are 
imitated with brass nails. 

The ordinary dress of a Briton at this period 
was the skin of the brindled or spotted cow, of 
the beasts killed in hunting, or a cloak of sheep- 
skin. After their connexion with the Phoenician 
traders, the arts of dressing wool and flax and 
spinning coarse cloth were introduced. The early 
Britons and Gauls excelled in the art of dyeing 
cloth. Pliny enumerates several herbs used for 
this purpose, and tells us that they dyed purple, 
scarlet, and other colours from them alone. 
The peasantry in Wales have the knowledge of 
several indigenous plants valuable for imparting 
colours, and use the leaves of the foxglove and 
sorrel as preparatives for the purpose. They ex- 
tract a beautiful yellow from tansy, brown from 
nut leaves, and other colours from lichens. But 
the favourite with the ancient Britons was the 
blue produced from the woad, and which they 
had formerly used in tatooing their bodies. This 
and red predominated. 

Before the Roman invasion the dress of its 
chieftains consisted in a close coat or covering for 
the body, called by Dio a tunic, and described as 
chequered with various colours in divisions. It 
was open before, and had long close sleeves to 
the wrist. Below were loose pantaloons, called 
by the Irish brigis, and by the Romans brages 
and bracchae ; whence the modern term breeches. 
Over his shoulders was thrown the mantle or 


cloak, called by the Romans sagum , and derived 
from the Celtic word “ saic,” which signified a 
skin or hide, and which was the original cloak of 
the country. On his head he wore a conical 
cap, which derived its name from the " cab,” or 
hut of the Briton, which was of similar form. 
On his feet were shoes made of raw cow-hide 
that had the hair turned outward, and reaching 
to the ankles. Shoes so constructed were worn 
within the last few years in Ireland, and we 
engrave two from specimens in the Royal Irish 
Academy.* One is of cow-hide, and drawn toge- 
ther by a string over the foot, as also is the other 
by a leather thong, that passes round the top of 
the boot and over the toes ; this is of untanned 



leather, and is all in one piece, sole and upper 
learner. 

In time of battle they stripped themselves 
naked to be free for the encounter, and appear 
to have worn occasionally a species of skull-cap, 
from which hung long feather-like appendages. 
Their swords were suspended by a chain from 
the waist. A remarkable breast-plate of gold 
was found *at Mold, in Flintshire, which is con- 
jectured to be of this early period ; it is now in 
the British Museum, and has been engraved, and 
described in vol. xxvi. of the " Archceologia,” 
with an extra plate of the ornamental details, 
which will be of much value to the artist, as it 
shows the taste of this early age, and the pattern 
then generally adopted. 

Martial has a line of comparison — 

“ Like the old bracchae of a needy Britain 
and they seem to have been the distinguishing 
mark between the Romans and the less civilized 
nations of antiquity, who were frequently styled 
“ breeched barbarians ” by this haughty people. 
Perhaps the best idea of an ancient Briton may 
be obtained by an examination of the statues in 
the Louvre of the Gaulish chiefs there exhibited, 
and who in point of costume exactly resembled 
them ; one of these figures is here engraved. 



The Britons, like the ancient Gauls, allowed 
their hair to grow thick on the head ; and 
although they shaved their beards close on the 
chin, wore immense tangled moustachios, which 

* In the Highlands of Scotland, according to Mr. 
Logan, they were also in use ; be says that they were 
exceedingly pliable, and were perforated with holes to 
allow the water to pass through, when their wearers 
were crossing morasses. 


sometimes reached to their breasts. Among the 
Townley marbles in the British Museum, is a 
magnificent bust of a barbaric chieftain, or king, 
who was a captive to Rome; it so completely 
gives us the fashion of hair as worn by the British 
chieftains, that it has been conjectured to be a 
bust of Caractacus, whose noble character was 
held in high esteem by the Romans.* The loose 
neglected hair, growing over the forehead, and 
the ferocious, yet majestic melancholy of the 
face, is worthy the study of the artist who would 
faithfully represent this early English hero, who 
has at least no unworthy counterpart in the bust 
here given. 



Round the neck, bands of twisted gold wire, 
called torques, were worn, and bracelets on the 
arms of similar construction. Various specimens 
are scattered through the 'many volumes of the 
“ Archaeologia.” 

Of the female dress of this early period no 
relics save ornaments remain ; of these some few 
specimens are here engraved. 



Fig. 1 is a necklace of beads, each bead being 
cut so as to represent a group of several, and 
give the effect of many small round beads to what 
are in reality long and narrow ones. Fig. 2 is a 
necklace of a ruder construction, consisting of a 
row of rudely-shaped beads, its centre being re- 
markable for containing a rude attempt at repre- 
senting a human face, the only thing of the kind 
ever discovered of so ancient a date in Britain. 
Fig. 3 is another necklace, consisting of a series 
of curious little shells, like the hirlas horn t used 
by the Britons, which are perforated lengthways, 
and thus strung together. Fig. 4 is a pin of 
iron, supposed to have been used as a fastening 
for a mantle ; it is ornamented with two move- 
able rings. Fig. 5 is a small gold ornament, 
chequered like a chess-board, and suspended 
from a chain of beautiful workmanship, which in 

* It has been beautifully engraved in one of the 
plates of ancient marbles, published by the •« Dilettanti 
Society,” accompanied by a learned description, by 
R. P. Knight, the distinguished antiquary, who has 
declared the opinion above expressed. 

t These horns were generally formed from that of the 
ox, and were used for bunting, and also for drinking. 
The “ Pusey horn,” which was given by Canute to au 
ancient member of that family, according to the mode 
then common of thus conveying landed property, and 
which the inscription upon this horn commemorates; 
was made, so that by screwing on a stopper at the 
smaller end it could be used for drinking from; as 
in ancient MSS. we frequently see them. 


Digitized by 


226 THE ART-UNION. [Oct., 


taste and execution bears a striking similarity 
to our modern curb-chains. Fig. 6 is an earring, 
a bead suspended from a twisted wire of gold. 
Fig. 7 is a brass ornament, and fig. 8 a similar 
one of gold ; such ornaments are usually found 
upon the breasts of the exhumed skeletons in our 
barrows, and were probably fastened on their 
clothes as ornaments. Their cruciform character 
might lead to a doubt of their high antiquity, if 
we were not aware of the fact that the symbol of 
the cross was worn as an amulet or ornament 
ages before the Christian era.* They are here 
engraved, to convey an idea of the sort of orna- 
mental taste displayed by our forefathers. In 
Douglas’s “ Nenia Britannia” some beautiful 
specimens of these ornaments, and cloak clasps, 
or fibula?, may be seen, together with many 
curious ornamental relics of this early period. 

These are all the articles of dress actually re- 
maining to us ; but the description of Boadicea, 
left us by Dion Cassius, will help us to form a 
fair notion of the general appearance of a British 
female. She wore her long yellow hair flowing 
over her shoulders; round her neck a golden 
torque, and bracelets ornamented her arms and 
wrists. She was attired in a tunic of several 
colours (blue, red, and yellow, or a mixture of 
these colours predominated), which hung in folds 
about her. A cloak was thrown over all, which 
was fastened by a fibula, or brooch. 

The details of the earliest English costume 
have been thus entered upon, because it was felt 
necessary to guide the artist, in his delineation of 
ancient life, by fact illustrations alone ; and 
many attempts have been made in expensive 
works and of much pretension to accuracy, that 
may considerably mislead him in his details; 
authorities have been cited and used that are 
in reality of little value, and plates, the result of 
this guess-work , are fortified by learned descrip- 
tion, and quotations apparently unquestionable, 
of authorities by no means valid, and from which 
it would not be difficult to manufacture the 
most absurd figures. The descriptions of ancient 
writers should be the groundwork of the design, 
and all its accessaries may be readily obtained by 
a reference to the works treating on the contents 
of early British sepulchres, where alone the real 
articles are to be met with that once decorated 
our forefathers, and which have never yet been 
fully used. The style of ornament at this period 
may be gathered from the simply-varied decora- 
tions of the breast ornaments in Hoare's South 
Wiltshire, “ Tumuli,” pi. 10 and 26, or else from 
the many vases engraved in the same work. 
From these and the figures of Gaulish chiefs 
extant, or the bas-relief upon Trajan’s column, 
enough for the artist’s purpose may be ob- 
tained ; but on no account should he depend im- 
plicitly upon any attempt to realize these people 
in modern designs, however they may be backed 
by learned statements ; for they all fail in truth- 
fulness in many particulars, upon a comparison 
with any genuine antique figure. 

Druidic costume was of patriarchal simplicity. 
Long white garments covered their persons, and 
hung upon the ground. A mantle also of white 
(but bordered, say some authors, with purple), 
hung from their shoulders, and fell in broad 
folds to their feet ; it was fastened upon the 
shoulders by drawing a portion through a ring. 


| * In the “ Description de l’Egypte,” published by 

the French government, under Napoleon, is an engrav- 
ing of a small cross with a hole at the top, by which it 
was suspended, as they are now worn in Catholic coun- 
tries, and which was disinterred in an Egyptian sarco- 
phagus. We are also told that the Druids used this 
symbol in the earliest times. Sir S. R. Meyrick, in his 
“ Costume of the Original Inhabitants of the British 
Islands,” has represented one of them in the back 
ground to his design of Druidic costume. He says 
that they were set up in public places, being formed of 
the stump of an oak-tree, with pieces fixed on each 
side, like the arms of a man, above which insertion they 
placed, according to Lucan, the T, tau , or symbol of 
Ood, in shape also like a cross, without the upper limb ; 
and upon tne other cut the names of their national 
1 deities. 


They were crowned with oak-leaves, and the 
Arch Druid bore in his hand a sceptre. A sin- 
gularly interesting bas-relief was discovered at 
Autun, and engraved in Montfaucon’s “ Anti- 
quitee Expliqu&s,” and affords us the best and 
only actual authority for Druidic costume. 



It represents a Druid in his long tunic and 
mantle, holding in his right hand the sacred 
symbol of the Crescent ; the Arch Druid beside 
him is crowned with oak-leaves, and bears a 
sceptre. The Druids were divided into three 
classes — the Druid (Der-wydd) or superior in- 
structor, distinguished by the “ proud white 
garments,” mentioned as his characteristic cos- 
tume by the ancient Welsh bard Taliesin, who 
wrote in the sixth century; the Ovate, from 
Go-wydd, or O-vydd, subordinate instructors, 
who wore robes of bright green, symbolic of 
the learning they professed, and their knowledge 
of the secrets of nature whose colours they wore ; 
and the Bards (Beirrd), or teachers of wisdom, 
and “ wearers of long blue robes.” Noviciates 
were clothed in garments of three colours — blue, 
green, and white, or red, which were disposed 
in stripes or spots ; for a disciple about to be 
admitted a graduate is allegorically described by 
the bards as “ a dog with spots of red, blue, and 
green.” 

Various Druidic remains have been discovered 
from time to time in England and Ireland. In 
the Royal Irish Society are preserved some ex- 
ceedingly beautiful specimens of the ornaments 
worn upon the breast of the chief priest — the 
Jodhian Morian, or breast-plate of judgment, 
believed to be endowed with the power of 
strangling the wearer who gave false judgment. 
There is a beautiful engraving of one of these 
breast-plates in the “ Archroologia,” vol. vii, and 
also of the “ Liath Meisicith,” or stone of judg- 
ment, a large crystal set in silver, and sur- 
rounded by other stones. They no doubt had 
their origin in the Jewish “ Urim and Thum- 
mim.” In the second volume of the “ Archauo- 
logia,” there is an engraving of a lunar orna- 
ment, similar to that held by the Druid priest in 
the Autun bas-relief ; it is tastefully and beau- 
tifully ornamented by indented work in lines 
and zig-zags, as they all are. From the circum- 
stance of the point of the crescents having upon 
them at right angles two small circular plates 
about the size of a guinea, they were also con- 
jectured to be breast ornaments, for by passing 
loops over these they would become readily and 
conveniently pendulous from the neck of the 
wearer. They were very thin : the one here 
mentioned weighed but one ounce and six 
pennyweights. 

Many other antiquities of the Druidic era may 
be found scattered through the various volumes 
of the “ Archceologia” of the Society of Anti- 
quaries, “ Hoare’s Wiltshire,” “ King’s Muni- 
menta Antiqua,” “ Vallancey’s Collectanea dc 


Rebus Hibernicis,” and “ Douglas’s Nenia Bri- 
tannia.” 

THE ROMANS IN BRITAIN. 

After the subjugation of the Britons by the 
Romans, their rule extended over a period of 
more than 300 yeare; it is, however, a period 
that need not detain us long, as authorities for 
its costume may be readily met with. The Britons 
became Romanized thoroughly in their dress, 
adopting that and the manners in general of their 
conquerors: the bracchae were discarded, and 
the short Roman tunic and capacious mantle was 
their ordinary covering. Among the Arundelian 
marbles at Oxford is a bas-relief, found at Lud- 
gate in 1669,* to the memory of a British soldier 
of the Second Legion : he is represented with 
long hair, a short lower garment fastened round 
the waist by a girdle and fibula, a long sagum 
flung over his breast and one arm, ready to be 
cast off in time of action ; naked legs ; in his left 
hand a scroll, and in his right is held a long two- 
handed sword, the point resting on the ground. 
Pennant regarded this very curious bas-relief as 
a representation of a British soldier, probably of 
the Cohors Britonum,t dressed and armed after 
the manner of the country. The slight difference 
between his costume and that of a Roman Le- 
gionary will be at once seen. The figure beside 
him, wearing the long and capacious mantle, is 
copied from a Roman sepulchral bas-relief found 
at Cirencester in 1836. 



In “ Archseologia,” vol. xxiii., is engraved a cu- 
rious military relic of this early period. It is the 
exterior coating of an ancient British shield, such 
as the Britons fabricated after they had been in- 
duced to imitate the Roman fashions. It was 
held at arm’s length, by a handle fitted into the 
groove made by the ornament, the gripe being 
guarded with a convex boss. This shield appears 
to have been originally gilt; the umbo is orna- 
mented with pieces of red cornelian fastened by 
brass pins ; and, says Sir S. R. Meyrick, in whose 
possession this curious relic remains, “ it is im- 
possible to contemplate these artistic portions 
without feeling convinced that there is a mixture 
of British ornament with such resemblances to 
the elegant designs on Roman work, as would be 
produced by a people in a less state of civiliza- 
tion.” We engrave this unique curiosity with 
the ornament beside it, on a large scale, that its 
peculiarity may be more distinctly seen. It was 


* It was discovered during the excavations that were 
so extensively carried on by the commissioners ap- 
pointed by the Government for rebuilding the City of 
London, immediately after that stupendous event, the 
Great Fire of 1666 ; and it is the most interesting of their 
discoveries, which, being made at a time when an at- 
tention to these antiquities was not so general as at 
present, have not been fully recorded. 

t A body of soldiers expressly raised to defend the 
island from the attacks or tha Scots and Piets, guard 
the coast from Saxon pirates, and preserve the power 
of the Romans within it. 


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1842 .] 


THE ART-UNION. 



found in the bed of the river Witliam, in Lin- 
colnshire. 

The female dress underwent little or no change. 
The British gwn, from whence comes the modern 
“ gown,” came down to the middle of the thigh, 
the sleeves barely reaching to the elbows; it was 
sometimes confined by a girdle. Beneath this a 
larger tunic reached to the ancles. The hair was 
trimmed after the Roman fashion, and upon the 
feet, when covered, were sometimes worn shoes 
of a costly character, of which we know the Ro- 
mans themselves to have been fond. An ex- 
tremely beautiful pair was discovered upon open- 
ing a Roman burial-place at Southfleet, in Kent, 
in 1802. They were placed in a stone sarcopha- 
gus, between two large glass urns, or vases, each 
containing a considerable quantity of burnt bones. 
They were of supurb and expensive workman- 
ship, being made of fine purple leather, reticu- 
lated in the form of hexagons all over, and each 
hexagonal division worked with gold. 


Many passages in ancient writers mention that 
great attention was paid by the Roman ladies 
and soldiers to the ornaments upon their shoes, 
which were as rich and costly as the circum- 
stances of the wearer could permit. They were 
buried, perhaps, as the most valuable and showy 
article of dress, and one that the deceased would 
least wish to part with. 

THE ANGLO-SAXONS. 

For the costume of the Anglo-Saxons we have 
abundant authority in the drawings executed by 
their own hands, and still existing among our col- 
lections of illuminated* manuscripts. It will be 
sufficient, however, for our purpose and that of the 
artist, to confine our notice to a few of the more 
important ones, which most fully illustrate the ge- 
neral dress of the community ; and nearly all 
that is wanted may be found in two manuscripts 
in the Cottonian Collection, t now in the British 

* The term “ illuminated,” was applied to those 
drawings executed in gold and body-colour to be met 
with in ancient manuscripts, by the earlier continental 
antiquaries; and it has been retained as expressive of 
the brilliancy and beauty with which they are executed, 
and of which this word couveys perhaps the best idea. 

t So called from Sir Robert Cotton, who collected 
these MSS. during the reigns of Elizabeth and James I., 
and suffered much persecution on their account, as 
many private letters and papers of state were among 
them, and he was for years debarred the privilege of 
their use. His son, Sir Thomas Cotton, augmented the 
collection considerably. 


Museum, marked “ Claudius, B. 4,”* and Har- 
leian MS.,t No. 603; the first a translation of the 
Pentateuch into Anglo Saxon, written and pro- 
fusely illuminated in the tenth century, by 
iElfricus, Abbot of Malmabury, at the command of 
iEthelward, an illustrious Ealderman. It contains 
a vast variety of valuable illustrations, nearly every 
incident mentioned being delineated in a drawing, 
and all the characters represented in the costume 
of the period when the manuscript was executed ; 
it being a custom (fortunately for the antiquary) 
with the artists to represent the subjects he was 
about to illustrate, precisely as they would occur 
in similar circumstances in his own time. This 
has afforded a valuable fund of materials to the 
student of ancient costume and manners, and 
gives a reality to the study not to be found else- 
where. The dress, carriages, implements of war 
and husbandry, the pleasures of the chase, or the 
amusements of the people, are here fully deli- 
neated. The second manuscript is, probably, a 
century later, but it is executed with less finish, 
the drawings being slight, but valuable and varied, 
and furnish some very curious pictures of man- 
ners. I have also made some selections from 
another manuscript in the Harleian collection, 
No. 2908, the Missal of the church of St. Augus- 
tine's, Canterbury, and some others. 

But, perhaps, the finest specimen of the arts in 
the tenth century, is to be found in the library of 
his grace the Duke of Devonshire. It is a splen- 
didly decorated Benedictional, executed for St. 
TEthelwold, and under his auspices and direction, 
to be used in his see of Winchester. It was com- 
pleted between the years 963 and 984, and it is 
this known date that stamps so much value on 
the manuscript. With great liberality, its noble 
possessor allowed the Society of Antiquaries to 
engrave fac-similes of the thirty illuminations 
contained in the volume; and they were pub- 
lished, together with an account of the book, in the 
24th volume of the“ Archroologia.” As these are 
the finest specimens of the arts of design at pre- 
sent existing of this early period, and the book is 
more easily accessible than the others I have 
quoted, I would almost prefer directing the artists’ 
attention to the admirably-executed fac-similes 
there published, and which will supply liim with 
the costume, and more particularly the orna- 
mental designs of the period, as fully or more 
fully than may be obtained from any other 
source. The late Mr. Ottley, so well known for 
his knowledge of art and its history, declared 
“ he thought these drawings in the highest de- 
gree creditable to the taste and intelligence of 
this nation, at a period when, in most parts of 
Europe, the fine arts are commonly believed to 
have been at a very low ebb.” 

For the Royal Costume of the Anglo-Saxons 
we meet with many authorities. The grants by 
King Edgar to the abbey of Winchester, which 
were written in letters of gold in the year 966, 
and which contains, opposite their names, the 
marks of the King and Saint Dunstan, and is 
now in the British Museum, Cotton MS. No. 
966, gives us the portrait of this monarch and his 
costume. In its details his dress is exceedingly 
simple, consisting of a plain tunic, over which is 
thrown a mantle or short cloak, and his legs are 

* This is one of the “ press-marks ” originally used 
for the convenience of finding the books easily. They 
stood in presses or cases, over each of which was a 
bust of one of the Caesars. Thus this book was in that 
one over which a bust of Claudius was placed ; it stood 
on shelf D., and was the fourth book upon that shelf. 
The collection having been used for upwards of two 
centuries by learned men of all countries, and their re- 
ferences to the books used as their authorties given 
thus, it became essential that upon their removal no 
alteration should take place in this particular; and 
hence they are still referred to as they originally stood 
in the library of the Cotton family. 

t This collection of manuscripts is so named from 
Robert Harley, Earl of Oxford, and prime minister to 
Queen Anne, and his son Edward, the second and last 
Earl of Oxford, who brought together nearly 8000 vols. 
of letters, papers, charters, and documents of all kinds, 
illustrative of English and foreign history, inclusive of 
illuminated books on all subjects, many of an exceed- 
ingly rare, beautiful, and curious kind. 


227 


enswathed in bands to the knee. A finer ex- 
ample of royal costume is, however, to be found 
in the Benedictional above mentioned, and which 



ia copied above. It represents one of the Magi 
approaching the Virgin and Child with his offer- 
ing. He wears a crown of a simple form, with a 
plain purple tunic reaching nearly to the knees, 
and confined round the waist by a linen girdle. 
His short blue cloak, bordered with gold, covers 
the left arm, leaving the right one perfectly free, 
as it is fastened on the right shoulder by a gold 
fibulae or brooch. The kind of bandaged stock- 
ing, so common on all Saxon figures, is seen in 
this instance to greater advantage than in any 
other known to exist. His legs are enswathed up 
to the knee in garters of gold, tied in a knot at 
the top, from which hang tassels. This peculiar 
feature of Anglo-Saxon dress was in common use 
among the shepherds and country people of 
France as late as the loth and 16th centuries, 
and was called “ des lingettes.” In the Appcn- 
nines, the Contadina wear a kind of stocking 
bandaged all the way up ; the bandages gene- 
rally crossing each other. In the Cotton MS., Ti- 
berius C. 6., is a representation of King David 
playing on the harp, whose legs are crossed with 
bandages diagonally ; this was the orignal 
“ cross-gartering” as mentioned by Shakspere in 
“Twelfth Night,” and the fashion lingered in 
England at a still later period. Barton Holyday, 
who wrote fifty years after our great dramatist, 
speaks of 

“ some sharp, cross-gartered man 

Whom their loud laugh might nick-namc Puritan.” 

The costume of a queen appears to have been 
nearly the same as that worn by the noble and 
wealthy ladies of the land ; in a similar way that 
of their kings differs in no degree from the ordi- 
nary costume of a nobleman or chief, except in 
the addition of the regal diadem.* The figure 
selected as an example of queenly costume occurs 
in Harleian MS., No. 603. She wears a long 
gown which falls in folds round her feet, and 
having full hanging sleeves, the figure is in out- 
line in the manuscript, but the colours have been 
indicated by inks of different tints; this gown 
is coloured red. Over the gown is thrown a ca- 
pacious blue mantle, which almost entirely en- 
velopes the figure ; it is wound round the waist 
and thrown over the left shoulder, from whence 
it descends behind the back and nearly reaches 
the ground ; it is so disposed as to cover the left 
side of the body from the waist downward leaving 
the right side partially free ; the mantle hanging 
in folds from the left arm. This graceful disposi- 
tion of so important a portion of the costume has 
a peculiarly grand and dignified effect, which is 
aided not a little by the extreme simplicity of 
the entire dress, which is perfectly unornamented. 

* The crowns of both these royal figures are of the 
simple form so common in Ango-Sa\on illuminations, 
that of the Queen being decorated with tleur-de-lis, 
which nre the usual ornaments upon them, and are 
more like our modem ideas of a French crown, than 
the crowns worn nt this early period by French 
sovereigns, as depicted iu contemporary MSS. 




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228 


THE ART-UNION. 


[Oct., 



The ecclesiastical costume may be well illus- 
trated by the annexed figures, copied from an illu- 
mination in the ancient Missal of St Augustine, 
formerly belonging to the monastery at Canter- 
bury, and now in the Harleian collection, No. 
2008. It represents Abbot Elfnoth, who died 
in the year 080, presenting his book of prayer 
to St. Augustine, the founder of his monastery, 
and is one of the earliest representations extant 
of the official ecclesiastical habits used at this 
early period, the drawing having been exe- 
cuted in the abbot’s life-time. The saint is 
in full costume as archbishop, and wears the 
chasuble,* a purple mantle bordered with gold, 
that covers the upper part of the body and 
reaches beyond the waist and as far as the 
wrist, when the arms were allowed to hang 
beside the body; and which hung in a half 
circle in front, when the arms were uplifted. 
Over this is the pall, a narrow strip of woollen 
cloth, upon which crosses were embroidered, and 
which passed over the shoulders of the metropo- 
litan or archbishop, and with which he was in- 
vested on his nomination to the see. Immedi- 
ately under the chasuble is the dalmatict (coloured 
yellow in the original) which has long sleeves 
reaching nearly to the wrist ; beneath this ap- 
pears the ends of the stole, a band or scarf that 
passed over the shoulders and round the neck. 
The undermost part of the dress being the alb,$ 
of blue with tight sleeves to the wrist. His shoes 
are black, and he wears no mitre, its first ap- 
pearance in the Latin church being about the 
middle of the eleventh century. 

Abbot Elfnoth wears a chasuble of green bor- 
dered with gold, which projects upwards to a 
point behind his head, similar to a hood ; a dal- 
matic of yellow embroidered with leaves (as is 
also that worn by the archbishop), and an alb 
of blue. Behind is an attendant priest, dressed 
in a yellow dalmatic similar to the abbot’s, with 
a plain close collar and a blue alb ; he carries the 
pastoral crook, which is of singular simplicity, 
varying in no degree from that of an ordinary 
shepherd. It had, indeed, an allusion to the Sa- 
viour as “ the good shepherd,” and all the other 
portions of priestly costume have an allegorical 
allusion to the Christian faith. Thus the cha- 


* So called from the protection against the weather it 
afforded the wearer, it was alio called the pluvial for 
the same reason. 

f The dalmatic was the name given to the long flow- 
ing dress worn by priests, and resembling a gown in its 
form. The name is also frequently applied to the 
gown with wide sleeves, so common upon royal figures 
as late as the reign of Edward the Fourth, and which 
was a peculiar feature in royal costume, as we shall see 
in the course of these remarks. 

$ Tbealb wasalong garment reaching to thefeet, which, 
notwithstanding its name, was not always necessarily 
white, nor was It invariably made of linen cloth. It 
was intended to represent the white garment which 
Herod placed upon the Saviour after he had despised 
and mocked him. 

The details of ecclesiastical costume have been thus 
minutely entered on, because much confusion has 
arisen from the changes in name and form produced 
by centuries, and which render them difficult to be un- 
derstood by the general reader ; and this must be my 
excuse to tome of the readers of these papers for what 
may seem to them to be unnecessarily minute descrip 
lions— but of which 1 and other artists have felt the 
want. 


suble represents the purple garment which the 
soldiers put upon Jesus Christ; the stole, the 
cords with which he was bound, See. 

The general civil costume of the Anglo-Saxons 
appears to have been exceedingly simple; a plain 
tunic enveloped the body, and reached to the 
knee, fastened round the waist by a girdle of 
folded cloth of the same colour, or secured by a 
band slightly ornamented. The tunic was some- 
times enriched by a border of ornaments in small 
compartments, generally representing leaves, or 
the usual square and circular simple patterns 
so common at this period. The Saxon name for 
this article of dress was tunic; for in an illumi- 
nation, to be seen in the Cotton MS., Claudius, 
B. 4, representing the brothers of Joseph bringing 
to Jacob his “ coat of many colours,” they exclaim 
tl pay cuntcan pe punbon” (this tunic we found); 
and it is a curious instance of the simplicity of 
the Saxons in this article of their dress, that the 
“ many colours” of the tunic are endeavoured to 
be conveyed to the eye of the spectator by the 
gradation of one tint only — blue, which is the 
colour of the tunic; and spots of darker and 
lighter blue fill the centre, while a border of 
light blue edges the bottom and wrists. This 
tunic, from the circumstance of its being held in 
the hand, and not worn upon the body, is clearly 
distinguishable in all its parts ; it Is made to fit 
closely round the neck, and is open half-way 
down the breast. It is also open at the sides, from 
the hip to the bottom. A short cloak was worn 
over this tunic, as before observed, and generally 
fastened over the right shoulder ; but sometimes 
by a brooch in the centre of the breast, the cloak 
or mantle hanging over the arms when uplifted, 
and sometimes reaching below the knee. A wide 
cloak was also occasionally worn, wrapped round 
the figure, similar to the mantle of the queen 
engraved above. The shorter mantle sometimes 
loosely enveloped the right arm ; and in the 
Benedictional of St Ethelwold we see a pattern 
upon those worn by higher personages, generally 
composed of circles surrounded by dots, or cross- 
shaped ornaments, enriched by simple lines : this 
mantle sometimes pulled over the head, as a 
hood ; coverings for the head being seldom met 
with, and, when they are, being generally conical 
hats or caps, completely Phrygian in shape, as 
the war helmets of the time were ; and it would 
seem that the head was always uncovered, except 
in the time of war ; but many examples occur of 
war scenes where the combatants have no protec- 
tion for the head whatever. The hair was worn 
long, and hung upon the shoulders, being parted 
from the centre of the forehead, and tucked 
behind the ear; the beard was worn trimmed 
round the bottom, or else allowed to hang several 
inches upon the breast, and divided from the 
centre like a fork. 

“ Brech” and “ Hose” are alluded to by Saxon 
writers. The breeches were tight to the leg, and 
sometimes ornamented round the thigh and 
middle of the leg with coloured bars ; but some- 
times they were wide at the bottom, and reached 
only to the calf of the leg — such a one is seen 
upon the mounted soldier engraved below. The 
hose made of skin or leather is sometimes alluded 
to. Those reached to the knee ; and when unor- 
namented by the bandages before described were 
sometimes bordered at the top. Their shoes are 
generally painted black, having an opening down 
the instep ; no fastenings appear in the drawings, 
but they were secured by thongs. Strutt, in his 
“ Horda Angel-cynan,” has engraved all the four 
varieties he could meet with ; they are extremely 
simple in form and are entirely unornamented, 
although, as we shall have occasion to observe a 
little further on, the fashion of enriching them 
with embroidery, and even precious stones, be- 
came common among the noble and the wealthy, 
while the middle classes indulged themselves with 
painted or embroidered shoes of a very ornamen- 
tal character, and which may have been the work 
of the ladies, who were celebrated for their in- 
genuity in this way. 



The female costume appears to have rivalled 
in simplicity that of their lords. A long gown 
fell in folds over the feet, and a tunic reaching 
to the knee was worn over that; it seems to 
have been confined at the waist, but to have 
covered the hands entirely. In the figure here, 
engraved from the Benedictional so fre- 
quently referred to, the book is held in the left 
hand, without the removal of the tunic; the 
right hand is however protruded, and shows the 
ornamental wrist of the sleeve, which fits 
tightly, but in a number of folds similar to that 
of the men, and which may sometimes represent 
a series of bracelets ; for we are told by the 
writers of their own period, that they were in 
the habit of loading their arms with them. A 
hood covers the head, and hangs over the should- 
ders, and completes the nun-like costume then 
commonly worn. Another good example of 
female costume occurs in the Harleian MS., 
No. 2908. The figure is intended for the Virgin 
Mary, but, as usual, it is but the figure of one 
of the upper class. The two tunics arc here very 
clearly seen : the upper one with its border and 
wide sleeve to the elbow, over which is a mantle 
that falls behind ; and the hood which seems 
wound about the head. Females of all ranks 
are seldom or ever seen without this hood ; the 
Royal ladies wear it under their crowns. When 
the hair is seen, it generally lies in flat curls 
upon the head, and is bound by a fillet, slightly 
ornamented. The long gown, short upper tunic, 
and hood is then the ordinary costume of the 
Saxon females ; and in their dresses, as in those 
of the men, the prevailing colours are blue, red, 
and green, with sometimes pink and violet, but 
few are perfectly white. 

The military costume differed but little from 
the civil costume. Many warriors are repre- 
sented with no other weapons but a shield, spear, 
axe, or bow and arrows, and without any ad- 
dition to their ordinary dress. 



The mounted warriors, here exhibited, wear no 
extra clothing of defence : one of them poises a 


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229 


1842 .] 


THE ART-UNION. 


spear in his right hand, and holds a shield in his 
left by the strap in its centre ; he has a tight 
dress and full trowsers ; his shoes are pointed, 
and the spur, of the most ancient form, consists 
of a single goad. The warrior beside him 
flourishes a double axe or bipennis in his hand, 
an instrument derived from the nations of earlier 
times. We sometimes see soldiers and husband- 
men with tunics drawn up to the girdle at its 
sides, to allow of greater freedom in motion j for 
this reason the short tunic was preferred, or the 
close fitting vest and trowsers, as worn by the 
figure above delineated, and which occurs in the 
Harleian MS., No. 603. 



The two figures here engraved from the same 
MS. give us good examples of the foot soldiers 
of the day. One is habited in the tunic and long 
mantle, and holds in his hand the u kite-shaped 
shield” that came into use at the end of their 
dynasty. A spear with its pennon is also held 
in the same hand, but no sign of armour and no 
helmet appears on him. The other warrior has 
a short tunic, and over that a cuirass that covers 
the body to the waist, where it ends in points. 
It would seem from the indications in the ori- 
ginal drawing to have been formed of scales — 
the “ scaly mail” of their early bards — made of 
overlapping slices of horn sewn upon coarse 
linen. He carries a round convex shield in his 
left hand, with the central boss and projecting 
spike which always appears upon their shields. 
They were formed of leather, the rim or boss of 
iron, and of this metal were their other weapons, 
which consisted of broad double-edged swords, 
daggers, long spears, and javelins. Some of these 
shields were large enough to cover the whole 
person. A curious example occurs in the Har- 



leain MS., 2908 : it represents a soldier asleep 
at the sepulchre of Christ. He is dressed in 
a simple tunic, close trowsers, and black boots 
reaching to the ancle, which have a double 
row of white dots running round the top and 
down the centre. He holds a spear in his 
hand, its head of curious form, and behind him 
is an immense shield ornamented with red rays 
springing from its central boss. 








The general forms of Anglo-Saxon helmets 
may be gathered from the group here brought 
together from various sources, and which ex- 
hibits every variety to be met with. No. 1 shows 
the form of the square helmet, as worn at an 
early period by the Saxons ; it gives its shape 
much clearer than any representation to be met 
with elsewhere, and is copied from a plate in 
Montfaugon’s “ Antiquities of France,” where it 
is worn by the guards of Lothaire, in a repre- 
sentation of that monarch and his court, executed 
in the ninth century. One nearly similar is worn 
by Fig. 3, with the addition of a sort of crest, 
called by their writers “ camb on helme,” or 
the comb of the helmet, in allusion to its analogy 
to that upon the head of a fowl ; it occurs in the 
Harleian MS., No. 603. Fig. 2. gives us the 
Phrygian-shaped cap, borrowed from classic 
times, and formed of leather, bound with metal, 
or made entirely of that substance ; it is copied 
from Vol. 24 of the “ Archseologia,” in a fac- 
simile from iEthelwold’s “ Benedictional,” the 
figure who wears it representing Enoch the pro- 
phet. No. 4 is a pointed helmet of a simpler 
form, displaying a slight variation from that pre- 
viously described. It occurs in the Harleian 
MS., No. 603, as also does No. 5, the back of 
which is serrated like a cockscomb, and has the 
point projecting forward. No. 6 gives us the 
commonest form of helmet, and that most fre- 
quently met with : it is a plain conical cap, with 
a rim probably of metal, and occurs in the Cotton 
MS., Claudius, B. 4. This head and No. 3 
also exhibit the only two varieties of beard worn 
by the Saxon ; in one instance it is trimmed 
closely round the bottom, uniting with the 
whiskers, the upper lip being shaved ; in the 
other instance the beard is parted from the centre 
of the chin. Both varieties are equally common. 

[The next part will comprise the Anglo-Danish 
period, and the reigns of Edward the Con- 
fessor and Harold, including the entire series of 
Norman kings, and detailing the many curious 
changes of costume, both civil and military, 
introduced by them, or adopted during this 
eventful era. And here we shall begin to find 
our authorities of a more tangible kind than we 
have yet met with, although it has, in the course 
of these remarks, we think, been pretty fairly 
proved, that an imaginary costume, even for the 
earliest period of our history, is not absolutely 
the only one that can be adopted j for, slight as 
the notices are, enough remains to found a picture 
on, although it will be attended, probably, with 
some thought and trouble to the painter. As we 
progress, however, and get beyond the reign of 
Henry II., we shall find the most ample authori- 
ties, not only for general costume but even for 
that of individuals ; and these will be carefully 
referred to, although the abundance rather than 
the paucity of our materials will present the 
only difficulty in our selections of references to 
the best examples, and those most calculated to be 
useful to the historical painter.] 


THE SUBJECT OF ANCIENT GROUNDS* 

TO THE EDITOR OP THE ART-UNION. \ ^' 

Sir, — In resuming the subject of Ancient^ 
Grounds, I must first call your attention to paM : 
ticulars, here inserted, which were necessarily 
omitted in my former letter. I therein took oc- 
casion to name the various woods selected by the 
ancients for panels, such as cedar, larch, cornel, 
cypress, box, holly, sycamore, and oak; aprefer- 
ence having been given in Holland and in Flanders 
to oak, as being less liable to be infested by the 
worm. But it was early perceived that even fins 
wood was greatly injured oy its ravages ; on which 
account, painters of those days, who set a due 
value upon present, and who hoped to enjoy future, 
reputation, made frequent use of plates or copper, 
and they even took the precaution of gilding them. 
Many of the smaller pictures of Correggio were 
painted on copper thus treated. The chief diffi- 
culty, perhaps the only one, with respect to cop- 
per, is that, when of large size, the plates become 
unwieldy on account of the weight. The largest 
picture ever painted on copper is recorded to nave 
been done by Bartolomeo Spranger, a native of 
Antwerp, ana born in 1546, who, having been ap- 
pointed court painter to Pius V., was by him 
employed in the Palazzo Belvidere, where he spent 
three years on a 1 Last Judgment,’ the plate 
whereof was sir feet in height , and contained 
500 heads ! This performance was so highly valued, 
that on the death of the pope it was placed over 
his monument ! 

It has been already shown that, at a very early 
period, canvas was used for covering wooden pa- 
nels. The necessity for it is understood to arise 
from the liability of wood to crack, and by its 
depriving the colours, mixed in an aqueous vehicle, 
of a portion of their moisture, which, besides ad- 
ding to the unavoidable difficulty of painting a colla , 
endangers the firmness of the joints and wares the 
wood. It was Margari tone’s invention, as Vasari 
asserts, to glue canvas over wood, and thereupon 
to apply his plaster of Paris or gypsum (gesso). 
Vasari’s account of the transaction is as follows : — 

“ Ora tornando a Margaritone, per quello che si 
vede nelle sue opere, quanto alia pittura, egli fu il 
primo che considerasse quello che bisogna fare 

J |uando si lavora in tavole di legno, perche stiano 
errne nelle commettiture, e non mostrino apreo- 
dosi, poi che sono dipinta, fessure o squarti, 
avendo egli usato di mettere sempre sopra le tavole 
per tutto una tela di panno lino, appiccata con 
forte colla fatta con ritagli di cartapecora e bollita 
al fuoco, e poi sopra detta tela dato di gesso, come 
in molte sue tavole e d’altri si vede.” 

In the 20th chapter of Vasari’s works, allusion 
is again made to this subject, where he says, with 
apparent contradiction, that the old Greek masters 
practised this method ; for he observes, these old 
masters “ usavano nello ingessare dells tavole 
questi maestre vecchi, dubitando che quello non si 
aprissero in su le commettiture, mettere per tutto 
con colla di carnicci tela lina, e poi sopra quells 
ingessavano per lavorarvi sopra.” The only differ- 
ence in the two methods seems to consist m this, 
that Margaritone used size made of parchment 
shreds, while the ancient Greek masters made 
theirs of raw hide (carnicci). 

I have already stated that gilded grounds, in- 
vented by Margaritone, were common in the days 
in which that master lived. There are many rea- 
sons why gold should have had the preference for 
grounds ; it is capable of greater distension than 
other metals without becoming honey •combed ; nei- 
ther would it be corroded by the vehicle or by the 
colours, or would it re-act upon them. These are 
reasons perfectly distinct from the consideration 
that a layer of metal between the ground of gyp- 
sum and the picture colours was expedient, if not 
absolutely necessary, to prevent many of them 
from changing. The advantage of this method 
was evident to Vi 


e advantage of this method 
was evident toVasari, who speaks with the highest 
delight of the state of preservation in which he 
found the pictures of Margaritone and his contem- 
poraries ; and this was after a lapse of aft least 
250 years.* 

An attempt was made by Giotto to substitute, 
for the usual gold ground one of other materials, 
and the occasion, we are told, was this,— that 
being employed at Pisa to construct a building of 

* See in the last Art-Union a most interesting 
letter from a correspondent from Antwerp upon this 
subject, page 189. 


Digitized by 


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230 


THE ART-U N ION, 


[Oct., 


marble, one side of which would face the sea ; 
and it being also intended that he should adorn 
portions of the exterior with fresco paintings, he 
first examined the state of the edifices there, and 
finding that marble and even bricks were greatly 
injured by the joint effects of damp, a saline at- 
mosphere, and other agents, he thought of a 
remedy: he composed a mixture of lime, gypsum, 
and finely -pounded bricks, and this he applied to 
inlay or incrust such parts of the building as were 
to be painted in fresco. Notwithstanding, the 
paintings soon exhibited marks of rapid decay, 
parts of the paint being corroded, the carnations 
blackened, and even the plaster itself peeled ; for, 
says Vasari, it is in the nature of gypsum to rot 
when mixed with lime : “ Che avendo quelle pitture 
patito umido, si sono guaste in certiluogi, e l’in- 
camazioni fatte nere, e l’intonaco, scortecciato ; 
senza che la natura del gesso, quando e con la 
calcina mescolato, e d’infracidare col tempo e cor- 
rompersi ; onde nasce che poi per forza guasta i 
colon, sebben pare che da principio faccia gran 
prcsa e buona.” 

The composition here described is not very dis- 
similar to one recommended by Leonardo da Vinci, 
and which I will extract from the English transla- 
tion of Mr. Rigaud: — “ After you have made a 
drawing of your intended picture, prepare a good and 
thick priming of pitch and brick-dust , well pound- 
ed, after which, give it a second coat of white lead 
and Naples yellow. The picture, when finished, is to 
be varnished with clear and thick old oil, and then 
to have a glass fastened over it. Another and a 
better method is, instead of the priming of brick- 
dust and pitch, to take a fiat tile well vitrified , 
then apply the coat of white and Naples yellow, 
and all the rest as before.” Other examples of the 
kind might be quoted, but what I have here given 
are sufficient for my present purpose. 

It is impossible to read the works of Vasari and 
not feel towards him the greatest admiration. His 
diligence, his research, his patience, his labour, 
his critical powers, and his impartiality, are all 
qualities which rarely meet in the same individual — 
and that individual too, himself, a great master. 
He has rescued from almost oblivion the memory 
of many great men — of Margaritone, of Cimabue, 
of Giotto, of whom, but for Petrarch, we might 
not have known anything— except from Dante’s 
Commedia : 

“ Credette Cimabue nella pintura 

Tener lo campo, ed ora ha Giotto il grido ; 

Si che la faina di colui oscura.” 

And except for Vasari, we should have known 
nothing of their methods : he has informed us in 
what manner they worked and prepared their 
grounds, and with what kinds of size they tem- 
pered their colours. This being a subject of much 
importance in our present inquiry, I trust you will 
excuse my dwelling upon it at some length. 

I again repeat Vasari’s assertion, that Margari- 
tone made his size of parchment shreds, and that 
the Greeks made theirs of an inferior kind of skin. 
The same author says of Cennini that, being greatly 
devoted to the Arts, he wrote a book with his own 
hand, treating of painting in fresco, in distemper, 
in egg-size, and in gum ; and he quotes a passage 
from that writer, which I will translate. Treating 
of the various arts described in his book, he thus 
speaks of them and himself : — Cennino di Drea- 
Cennini, was taught these arts, at the age of 
twelve years, by Agnolo di Taddeo, of Florence, 
my master, who himself learned the same of Tad- 
deo, his father, who was baptized by Giotto, and 
was his disciple twenty-four years. This Giotto 
translated a work on the Art of Painting from the 
Greek * into Latin, and from this again into the 
vernacular tongue, which he accomplished better 
than any one else.” The work, therefore, is of the 
highest authority and importance ; and as it em- 
braces many of the branches of Art, respecting 
which the moderns require to be instructed, why is 
it not better known ? Why is it not in the hands 
of every amateur in the country’ ? Of not less 
interest is the work of Theophilus, who thus 
describes himself : — ” Theophilus servus servorum 
Dei, indignus nomine et professione monachi om- 
nibus mentis desidiam auimaque utile manuum 
occupacione et delectabili novitatum meditatione 
declinare et calcare volentibus retributionem 
premii.”f In the chapter “ De Coloribus cum 

* Perhaps of Apelles? 

t Another work of great interest is the treatise, “ Di 
coloribus et artibus Homauorum,” of Eraclius. 


gumma tcrendisf he directs the use of white of 
egg. In another chapter: — “ Quomodo aurum 
vet argentum libris imponatur ,” he recommends 
the same size : — “ clarum ex albugine oei.” And in 
that chapter headed, “ De tabulis — et glutine 
casei ,” he describes how boards are to be joined 
with caseum, or the glue of cheese. 

Vasari mentions as a common method in fresco 
painting (though not approved of by him), finish- 
ing in gum, in tragacanth , in egg , and in other 
similar things ; and Van Mander, in his lives of 
the brothers John and Hubert Van Eyck, re- 
marks, that “ di gebroeders Joannes en Hubertus 
Van Eijk, maakten veele Stukken in die lijm en 
eivertce .” Now though Van Mander wrote many 
years after the death of Vasari, the same sources 
of information were doubtless open to both ; but 
even if this were not so, sufficient information is 
furnished by the other writers, to whom I have 
referred, to show that, with the exception of the 
size of egg (for the making of which Vasari gives 
directions), the kinds of size anciently used for 
distemper painting were similar, and perhaps the 
same as those now manufactured for other pur- 
poses connected with Art. 

We must now inquire what size was used for the 
composition of grounds for oil painting ? And for 
an elucidation of this subject we have no published 
authority older than Vasari, who directs us ” how 
to paint in oil upon panel and upon cloth;” in 
which we are directed to make the priming of white 
lead, and to be beat down by hand! till equally 
and uniformly spread ; and this, he says, is called 
Vimprinritura. Elsewhere he observes : — “ But 
canvass cannot be prepared in the same way as 
panels, for the former must be kept flexible, and 
if plastered, would crack on being rolled up.” He 
therefore recommends that a paste be made with 
flour and linseed or nut oil, though nut oil, he 
adds, is better, as being less liable to become yel- 
low. To this paste of flour and oil is to be added 
two or three ^measures of white lead. The canvass 
is first to have three or four coats of thin size 
(which he elsewhere directs to be made of parch- 
ment shreds), and the paste and lead is to be then 
laid on with a knife, the artificer having a care 
that all the holes be properly stopped. This done, 
one or tw’o coats of soft size is to be passed over it, 
and upon this the mestica o imprimiture. 

The method here given of preparing grounds 
with flour paste will account for the result at w’hich 
M. Merimee arrived. I will quote from the Eng- 
lish translation of Mr. S. Taylor. Having “ had 
occasion to analyse a portion of the ground of a 
picture by Titian, painted on wood, the ground 
was composed of plaster of Paris, with starch and 
paste, but no glue or size, flour paste being used 
instead of gelatine.” 

I now come to the second part of my inquiry : 
respecting the colour of the grounds used by the 
old masters. I find it here necessary to repeat 
what I stated in my former letter— that the mere 
colour of a ground is not of vital consequence to 
the durability of a picture. It may or it may not 
add to its beauty, in some respects, perhaps, to 
its transparency, according to the method by which 
it has been painted ; but its durability or prema- 
ture decay will certainly depend upon whether that 
method correspond to the nature and qualities of 
the ground. To make this observation intelligible 
I will quote another passage from the work just 
alluded to, as it embraces my meaning : ” In con- 
sidering simply what constitutes the true manner 
of each school, and of the several masters, so far 
as regards merely their technical process, we per- 
ceive that the entire code may be reduced to two 
points, viz., transparent and opaque painting. 
The former, a most important quality in colouring, 
has been particularly attended to by the ancient 
artists. To gain this essential object, some painters 
have laid in their pictures with thin washes, and 
have used but little colour; others have com- 
menced with solid painting, and then finished by 
glazing, which method has produced the most 
transparent effects, and thus by different modes ob- 
taining similar results ; for we find that the solid 
paintings of Titian and Rembrandt are equally 
transparent with those of Fra Bartolomeo and the 
Bronzini.”f 

Their washes, if laid on a dark ground, must, 
from its known nature, be absorbed, and so, in 

* Merim<Vs Art of Painting, p. 38. 

t Marinate, i. e., as much as can be ground at one 
time. — See Altieri’s “ Italian Dictionary.’* 


like manner, of the other parts of the painting : 
wherever there is little body of colour, there the 
whole of the middle and other tender tints will, in 
time, disappear, and in the course of some years, 
a picture thus painted will exhibit little else than 
unmeaning starey lights, and dark and undefined 
shadows. It therefore follows of necessity , as I 
conceive, that “ Fra Bartolomeo and the Bronzini” 
painted on a light if not a perfectly white ground . 
Such white ground in their pictures would act in 
the manner of a foil, bringing light from behind 
the colours , and thus giving them their true and 
full force, their clearness and transparency, with- 
out the aid of much glazing. 

In opaque painting the operation is reversed, the 
lights are laid on in body, massively ; so also are 
the half-lights and middle tints, and even the sha- 
dows, cut out upon the lights, are laid on in body, | 
that is with much colour. The clearing up and 
giving transparency to every part, and harmonizing 
the whole, are reserved for the glazing process, in 
which even Min washes may be practised. In this 
way, the original colour of the ground is often ab- 
solutely and effectually obliterated, as in the pictures 
of Claude ; and yet the most brilliant, transparent, 
and aerial effects are produced, while the durability 
of the picture and the permamancy of its tint are 
thoroughly secured. Of this class, and painted 
more or less in this manner, are the pictures of 
Correggio, Domenichino, Titian, Georgione, Man- 
tegna, Gaspar Poussin, Rosa Trivoli, Rembrandt, 
Eckhout, Claude, J. Jordaens, Vandyke, Salvator j 
Rosa, Murillo, and numbers of others of every j 
nation and sehool. I have given the above names, 

I must remark, without any reference to the com- 
parative merits of the masters, but merely as they j 
came into my mind. It is worthy of remark, that I 
the paintings of these masters which were done on i 
a white ground are, for the most part, in a more ! 
perfect state at this day than those painted on a 
reddish or dark ground ; and they bear a bigber 
price in the market. This observation applies par- ! 
ticularlv to the pictures of both the old and the 
young Teniers, and of Gaspar Poussin, and almost 
all fruit and flower painters. 

The masters who adopted the slight and transpa- 
rent methods were Wynants, Berghem, Wouver- 
mans, Cuyp, and as has been stated “ Fra Bartolo- I 
meo and the Bronzini.” To these names might be ' 
added numbers of others from the Dutch school. f 

For the sake of comparison and of bringing | 
names together, I will here instance, though out 
of order, those of the Tenebrosi, who painted I 
on dark and oily grounds. Their pictures have 
all greatly fnded, and in some cases are undistin- | 
guishable. Some of their names are the following : J 
Rutilio Manetti, Tintoretto in his worst period, 
Guido in ditto, Padovanino, Carpioni, Enea Sal- 
meggia, G. And. Donducci, Geo. Bat. Paggi, 
Cesare Dandini, Maria Nuzzi della Penna, Pietro 
Ricchi, Franceso Maffei, Giov. Boulanger, G. 
Maria Crespi, Simon Germyn, Gfod Schalkin, j 
John Van Hagen, Francis Krause, Egbert Herms- 
kirk the old, and others too numerous to mention, 
ranging from the years 1550 to 1700. As this is 
not merely matter of opinion, but rests upon the ! 
authority of historians whom I shall quote, I will ! 
proceed with my subject. 

The colours of Margaritone’s grounds are easily 
determined, as he painted on gold-leaf laid on ar- j 
menian bole, probably in the manner described by I 
Vasari. The practice of Cimabue and Giotto, and • 
their conterapories and successors, were the same ; ' 

and as it prevailed till towards the end of the fifteenth : 
century, it survived the distemper methods. It is, I 
therefore, more than probable, although the fact I 
remains to be determined, that Van Eyck, who 
made his discovery of oil painting in the early part j 
of that century, used gold-leaf grounds. His pic- 
tures, however, are too scarce, and infinitely too va- | 
luable to admit of their being examined in a way 
that would set the question at rest. Nor is it of | 
much consequence to my argument ; since every I 
one who has had the opportunity of seeing and ad- * 
miring his pictures must be confident that he , 
painted upon a very light ground. There is as little 
doubt that Reubens, who continued the practice of 
Van Eyck, adopted also his grounds for easel pic- 
tures, though he ofteu painted large subjects — 
larger even than the life. 

[It is with extreme regret that we find ourselves t 
compelled to divide this interesting and valuable 
communication. The remainder must be, however, 
postponed to our next number. 


igitized by Google 



1842.] 

THE ART-UNION. 

231 

ARCHITECTURE AROUND THE BANK. 

" Heaven be praised,” says Malcolm, “ old Lon- 
don was burnt.” Streets close, confined, and in- 
termixed, leading no-where, ill-drained, and worse 
lighted ; houses incommodious and ill-built, each 
story overhanging the other, and approaching its 
opposite neighbour so affectionately as nearly to 
shut out fresh air and the sun-light, were the pre- 
vailing features of the metropolis of “ old-time,” 
and such as could not be got rid of too soon, or 
too entirely. Bad as all this was, and apparent 
now as the necessity of some alteration in it 
would seem to have been, so difficult is it to in- 
duce men to make even trifling temporary sacri- 
fices for ulterior advantage, or indeed even to 
convince them of the unfitness of what they have 
become accustomed to, and the necessity of 
change, that many, many years would have 
elapsed without any wholesale and satisfactory 
improvement in London streets but for that oc- 
currence, which was then felt to be so calamitous 
and distressing. The same short-sighted views as 
those above hinted at, with other causes, prevented 
full advantage being taken of the fine opportunity 
which was then afforded for making London a 
model city. Much was done, but more remained 
undone, and so will remain, until men see their 
real interest more clearly than at present, or acci- 
dent forces abruptly on them the changes they 
themselves should long ago have prepared for 
and worked out. 

The destruction of the old Royal Exchange in 
1838, and the determination to re-erect it on a 
scale suitable to the metropolis of the first trading 
country in the world, presented an opportunity for 
most important improvements in its neighbour- 
hood. It is to be regretted that this occasion has 
not been fully made use of, but that, for the 
sake of a comparatively trifling sum of money, 
the locality is much confined, and evils undeniable 
are probably made perpetual. We do not now 
speak of the building in progress of erection, but 
of the approaches and the locality, leaving any 
opinion of the former (further than what was ex- 
pressed at the time of the ill-managed and hu- 
miliating competition for designs,) until its com- 
pletion ; suffice it to say, the structure is proceed- 
ing very rapidly, and that it is not likely at pre- 
sent to excite any violent predisposition in its 
favour. Let us, however, hope for the best. Mr. 
Tite is unquestionably a man of ability and skill, 
and although he entered on this matter under 
circumstances that induced much ill-feeling 
against him and made him many enemies, should 
not be prejudged or otherwise unfairly treated. 

Now, notwithstanding that more ought to have 
been done to obtain a perfect site for the new Ex- 
change, to create new, or improve existing, 
thoroughfares, it is certain that when the block of 
houses at present occupied by the Sun Fire Com- 
pany and others is cleared away as intended, a 
good open area will be obtained, and the general 
aspect of this part of the City rendered strikingly 
handsome. The Mansion House, which does not 
deserve the heavy share of abuse lavished on it by 
one writer after another, in the follow-my-leader 
fashion too often adopted; the church of St. 
Mary, Woolnoth, a design displaying much 
originality and boldness ;* the new buildings in 
King William-street and Princess-street, the tower 
of St. Michael’s, Comhill, and part of the Bank of 

* The author of the ‘‘Churches of London,” in his 
notice of this edifice, says truly, “ Its architect, Nicho- 
las Hawksmoor, a pupil of Sir Chriitopher Wren, may 
be classed among the numerous victims who have been 
offered up at the altar of epigram. That there are 
‘ more echoes than voices* in the world, none can doubt. 
The majority of men will not take the trouble to judge 
for themselves, but prefer to adopt at once the opinions 1 
of others, and promulgate them as their own ; and 
when those opinions are couched in smartly-turned 
periods, are condensed into pithy sentences, or mea- 
sured into jingling rhymes, easily retained by the 
memory, they are transmitted from mouth to mouth 
(sometimes from century to century,) as truth beyond 
inquiry, and work effects either for good or evil, as 
the case may be, which those who first uttered them 
could not have anticipated.” 

England, will all come into the view, and assist the 
coup (Vasil. Hereafter, too, it is to be hoped that one 
side of the Poultry, at present so narrow as to be 
totally inadequate to the traffic, will be taken down 
and put back, so as to render the new Exchange 
visible from Comhill. At present, however, we 
w ill leave what may be done and speak of what is. 
In order to improve the approaches on the north 
side of the Exchange, the church of St. Bartholo- 
mew, erected by Sir Christopher Wren in 1667, 
and celebrated as the burial place of Miles Cover- 
dale, one of the earliest reformers of the church, 
was taken down. On its site the Sun Fire Assur- 
rance Company, displaced, as already mentioned, 
from their old offices, have erected a very exten- 
sive building, which may claim praise for some 
originality in design. Occupying the comer of 
Bartholomew-lane and Lothbury, it displays two 
frontages, each of considerable length, and is well 
seen. The extreme angle of the edifice next the 
Exchange is taken off, and in the square face there 
formed is placed the chief entrance, adorned with 
fruit and foliage. Above it are windows, the top- 
most of which is surmounted by a large “ Sun” in 
stone, and other emblems, somewhat coarsely ex- 
ecuted ; indeed we can hardly help remarking, that 
none of the sculptured foliage has that grace and 
elegance which is to be desired. The building, 
which is wholly of stone, is in three stories, ter- 
minating with an enriched comicione , and in 
style may be described as Grecianized Italian. 
In the centre of the upper story, on each side, a 
recess is formed, wherein are placed three de- 
tached columns, with bell-shaped composed capi- 
tals, of rather doubtful outline. The windows at 
each extremity of the building have projecting 
balconets, the soffit of which is panelled and or- 
namented ; foliage fills up the space between the 
upper and lower windows, and the pedimental 
heads contain sun-flowers and other sculptured 
decorations. The whole front displays much 
pleasing variety of light and shade, a desideratum 
not easily attainable in street architecture ; and 
although open to some objections in detail, as for 
example, to the modillion in the cornice, where 
the same form is applied twice, must be consi- 
dered an ornament to the metropolis highly 
creditable to Mr. Cockerell, the accomplished 
architect employed. 

Immediately adjoining this building, in Bar- 
tholomew-lane, the Alliance Assurance Company 
have erected an extensive edifice, designed by 
Mr. Thomas Allason. The architect has here un- 
fortunately chosen a very hackneyed type, which 
it had been hoped was almost exploded. The 
centre of the building consists of an attached 
Corinthian portico of four columns (termed tech- 
nically tetrastyle ), rising from a plain basement ; 
the entablature is continued to the extremity of 
the building, and the angles of the front termi- 
nated with pilasters. Between the columns 
(which it may be remarked are not at equal dis- 
tances, the centre opening being larger than the 
others) appear two stories of windows, producing 
the feeling that the portico must have been built 
up as an after-thought, or that a modem house 
had been erected within the ruins of an ancient 
temple. Columns and entablature from ancient 
models are such available means of gaining an 
appearance of magnificence, and are so likely to 
be appreciated as such by the multitude, that it 
is not very wonderful architects have continued 
to drag them in neck and heels on all occasions. 
It is quite time, however, that they were put on 
one side, and used only when wanted, or, at all 
events, where fitting. We make these remarks 
rather with reference to a system than an indi- 
vidual instance : we know well that " if to do 
were as easy as to know what *twere well should 
be done, chapels had been churches, and poor 
men’s cottages princes’ palaces and we would 
not willingly hurt the feelings of any. The order 
employed is from the temple of Vesta, at Trivoli, 
similar to the Bank : some of the details are 
nicely designed. 

The Wesleyan Missionary Hall, in Bishopsgatc- 

street, is another building displaying precisely 
the same management of front, and open to the 
same objection, with additions; for it has, apart 
from its radical defect, a certain gawkiness far 
from pleasing. 

The new building on the site of the French 
Protestant Church in Threadneedle Street, called 
the Hall of Commerce (the exact destination of 
which has given rise to a vast deal of surmise and 
suggestion), is rapidly approaching to completion. 

Its characteristics externally are, a noble simplicity, 
and an amount of sculptured decoration greater 
in proportion to the size of the front than has yet 
been attempted in London. The elevation con- 
sists but of a colossal doorway, with two windows 
of proportionate size on each side of it, a deep 
wide panel above these extending nearly the 
whole length of the building, and an enriched 
entablature terminating the whole, the frieze of 
which is adorned with a continued scroll some- 
what too coarsely worked. The tablet contains 
a bas-relief of very large size, representing the 
results of commerce and enterprise, of very supe- 
rior design and execution, and entitled to what 
we shall hereafter give it, namely, a lengthened 
examination and description. It is the work of 
Mr. Watson, proves him to be a man of more 
than ordinary ability, and materially aids in pro- 
ducing the very satisfactory whole which the 
front presents. The interior is formed into two 
magnificent apartments, besides others of less 
importance. The principal room is perhaps about 
the size of Freemasons’ Hall, lighted by three 
lanterns in the ceiling, and very profusely orna- 
mented with friezes, pilasters, and columns. The 
second room is less; it is lighted by the front 
windows, and has a semicircular tribune on the 
opposite side, the upper part of which is of glass. 
The whole of the scrolls, cornices and foliage with 
which these rooms are adorned, is cleverly mo- 
delled in very high relief. Mr. Moxhav, the 
spirited proprietor of this building, i9 said to have 
been his own architect; but for the truth of this 
we would not venture to vouch, indeed we are 
hardly able to believe that any but a professional 
man could have carried out the details of the 
structure, although another may have given the 
general arrangement and design. 

A new building for the French Protestant 
Church has been raised in Aldersgate-street, nearly 
opposite to the Post-office, and promises to be a 
pleasing little structure; the style is Tudor- 
Gothic. Mr. Higgins, the well-known surveyor, 
and Mr. Owen, his son-in-law, are the architects. 
The cost of the building will be about £5000, 
exclusive of the resident minister’s dwelling which 
adjoins it on the south side. This congregation 
hold a charter granted them by Edward VI., and 
have several points of interest in their history. 

In conclusion of these brief remarks, it 
is satisfactory to observe the increasing use 
made of stone externally in building, to the pre- 
judice of what is called compo. Mr. Cooper, in 
his work on England, remarks, “ were London to 
fall into ruins, there would probably be fewer of 
its remains left in a century than are now found 
in Rome. All the stuccoed palaces and Grecian 
facades of Regent-street and the Regent’s-park 
would dissolve under a few changes of the seasons. 
The noble bridges, St. Paul’s, the Abbey, and a 
few other edifices would remain for the curious, 
but I think few European capitals would rela- 
tively leave so little behind them of a physical 
nature for the admiration of posterity.” If the 
constantly recurring cost of repairing and colour- 
ing our imitation fronts were properly taken into 
account, it would be seen, in many cases, that 
stone might be used with very little increase of 
expense, and with how much advantage in re- 
spect of appearance and durability it is needless to 
say. 

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232 


THE ART-UNION 


[Oct., 


THE PROVINCIAL EXHIBITIONS. 
LIVERPOOL. 

Liverpool Academy. — The Eighteenth Exhibi- 
tion of Works of Art, by British Artists, was opened 
to the public on Monday, 12th September. It is, 
in all respects, creditable ; at least, on a par with 
any exhibition of a former year, although the 
prizes of the London Art-Union have naturally 
contributed to lessen the supply ; and contains 
very few pictures indeed, from which either in- 
struction or enjoyment can be obtained. The 
arrangements of the rooms, too, give evidence of 
judgment^ taste, and impartiality ; the best places 
being accorded to the best paintings ; and no in- 
considerable skill having been shown in displaying 
them to advantage, by consulting the distribution 
of the light. The principal room at Liverpool is 
admirably calculated for tne purpose. But the en- 
trance to the Academy is poor to a degree ; and we 
hope the time is not far distant when the funds 
of the Institution will iustify some improvement 
in this respect. As will be supposed, tne collec- 
tion — whicn consists of 594 works— is supplied 
chiefly by artists of the metropolis. Among the 
denizens of Liverpool, however, they have several 
worthy compeers. An Art-Union Society is in 
progress ; and, as usual, a prize of JG50 will be 
awarded to one of the contributors.* 

No. 11. 4 Hastings Fishing Boats on the Beach, 
Ebb Tide/ J. Walters. A work of no incon- 
siderable promise ; the production of a Liverpool 
artist. It is forcibly and delicately wrought ; and 
manifests a love for truth and nature. 

No. 14. * In Yorkshire/ T. Creswick. A 
pure, fresh, and natural work ; remarkable for the 
grace which distinguishes all the productions of 
the painter. A more striking and a more interest- 
ing picture, however, is No. 69, 4 A Farm Yard / 
into which are skilfully introduced the figures of 
an aged woman and some playful children — her 
grandchildren— whose sports she is watching. 

No. 16. 4 Farrier’s Shop/ H. Boddington. 
A capital interior. Of this excellent painter’s 
works we have three examples ; each of them pos- 
sesses much merit, and one, No. 166, 4 The Gipsey 
Haunt’ is a production of very high order. 

No. 24. 4 Scene from the Sentimental J ourney / 
W. P. Frith. We noticed this work at the British 
Institution. It is here seen to greater advantage, 
for it is worthily placed. 

No. 25. 4 Dutch Boats beating into the Scheldt 
No. 41, 4 Dutch Punt ashore at Scheveling/ 
E. W. Cooke. Two admirable pictures ; the for- 
mer especially fine. They are evidently painted 
with great care, yet with a boldness and free- 
dom akin to the character of the scene and its 
accessaries. 

No. 26. 4 The Nook at Ambleside No. 55, 
4 The Grange, Borrowdale/ W. Collingwood. 
Two landscapes of much ability by an artist of 
Liverpool; he has studied nature, and studied 
where she is best seen. He paints with care, and 
seems not to grudge his labour. 

No. 27. 4 Shane's Castle, Lough Neagh, Co. 
Antrim/ W. G. Hkrdman. This also is the pro- 
duction of a Liverpool artist, and is one of right 
good promise. He contributes several works, in 
each of which he exhibits unequivocal signs of a 
firm and graceful pencil. This scene is very true ; 
the old ruined castle is introduced with fine effect, 
overlooking the waters of the broad lake, with its 
strange legends and traditions of other days. 

No. 34. 4 The Death of Sir William Lambton 
at Marston Moor/ R. Ansdell. This work we 
noticed at the Royal Academy. It is by a Liver- 
pool artist also. Another, No. 177, 4 Portraits 
of Red Deer in Knowsley Park/ is an excellently 

• From the year 1880 to the year 1841, both inclusive, 
eleven prizes, of jC* 50 each, have been awarded by the 
Institution, to the following artists, for the following 
pictures:— Robert Lauder, 4 Bride of Lammermoor,’ in 
1830; William Boxall, ‘Cordelia receiving the Account 
of her Father’s Sufferings,’ in 1831 ; D. Maclise, R.A., 
4 Mokanna Unveiling his Features to Zclica,’ in 1833; 
George Patten, A.R.A., 4 Maternal Affection,’ in 1834 ; 
S. A. Hart, R. A.. 4 Richard the First and Soldan Saladin,* 
in 1833; Charles Landseer, A.R.A., 4 Plundering of 
Basing-house,’ in 1836; George Lnnce, 4 Melancthon’s 
first Misgivings of the Church,’ in 1837 ; T. Sydney 
Cooper, 4 Halt, on the Fells, Cumberland,’ in 1838; 
J. R. Herbert, A.R.A., ‘The Brides of Venice,* in 1839; 
C. W. Cope, ‘Altar Piece— Christ’s Intercession,’ in 
1840; Thus. Webster, A.U.A., 4 The Boy and many 
Friends,’ in 1841. 


arranged and ably executed picture. The artist 
has indeed established his claim to a distinguished 
place in his profession. He is, we understand, 
extensively occupied at Knowsley — the seat of the 
Earl of Derby ; the selection by his lordship does 
him credit. 

No. 35. 4 A Highland Glen/ F. R. Lee, R.A. 
Mr. Lee is a large contributor to this collection, 
and has added very materially to its importance 
and value. Three or four of his pictures are here 
seen for the first time ; one, No. 53, 4 Ware Mill/ 
— a lonely mill in the midst of mountains — may be 
classed among his best performances. It is redo- 
lent of nature and full of poetical truth. Here too 
is his large work, 4 Desolation/ which formed one 
of the features of the Exhibition at the Royal 
Academy. 

No. 37. 4 Scene from the Vicar of Wakefield/ 
T. M. Joy. This picture — it is a highly creditable 
one in all respects — describes the first interview 
between the Vicar and Olivia, after sad afflictions 
had visited both. The story is clearly told ; the 
countenances of father and daughter are full of 
true expression, and the painting is executed with 
much care and finish. Mr. Joy exhibits another — 
No. 119, 4 The Fair Fille-de-chambre/ a single 
figure, cleverly drawn and gracefully wrought. 

No. 42. 4 The Death of Gelert/ Thomas 
Crane. The work of a Liverpool artist ; and of 
no inconsiderable merit. It tells the old story of 
the Welch Prince slaying his hound. The subject 
is well conceived and treated ; although perhaps it 
might have been served by a little less straining 
after melodramatic effect. The painter exhibits 
other works, from all of which we are justified in 
arguing his good progress and his fame hereafter. 

No. 44. 4 The first Interview of the Duke and 
Duchess with Don Quixote and Sancho/ J. Gil- 
bert. This work and another — 4 Corporal Trim 
and Uncle Toby/ were among the late attractions 
at the British Institution. They are capital pic- 
tures, of a high class as regards conception, ar- 
rangement, ana truth of character ; and are painted 
with much judgment and skill. 

No. 48. 4 The Lost Child/ Philip Westcott. 
Again by a Liverpool artist. It is a most melan- 
choly and painful picture; but one that fully 
carries out the design of the artist. We have 
seldom seen a portrait of more entire loneliness, 
or one that makes a stronger appeal upon sympa- 
thy. The little deserted wanderer sits alone in 
the midst of scenery as arid and unhopeful as her 
fate ; the tone of colour — sad and dark — is in har- 
mony with her destiny. Her countenance ex- 
presses nothing of the child, but its utter 
nelplessness. The drawing, moreover, is good, 
ana the execution altogether possesses much merit. 
The artist should paint a companion — a happy 
child in the hour oi its heartiest glee, twining tne 
wild flowers of the gay valley. 

No. 60. 4 A Serenade/ D. Maclise. Like all 
the works of the accomplished painter, giving 
evidence of genius ; it will be remembered at the 
British Institution. It certainly is not one of the 
best or the pleasantest productions of the artist’s 
pencil. 

No. 76. 4 Industry / No. 140, 4 The Effects of 
Poaching/ Samuel Eglington. Here too, we 
have the productions of an artist of Liverpool. 
The first represents an aged woman at her work ; 
the second tells a sad story of industry misapplied ; 
the poacher has been wounded and is in bed, 
attended by his wretched family, while a comrade 
watches at the window, a pistol in his hand. The 
story is a frightful one ; it has been well and effec- 
tively told. 

No. 83. 4 The Gipsey’s Toilet/ P. F. Poole. 
Mr. Poole contributes three works ; with two of 
them we are familiar ; but this, we presume the 
latest, is by much the best. It is an exquisite 
picture of a brown girl bending over a stream, 
which reflects the long black tresses she is settling. 
There are hundreds who will covet this happily 
conceived and ably executed 44 bit ;” and, small ana 
unpretending as it is, it will extend the fame of its 
producer. 

No. 86. 4 The Watering Place/ T. S. Cooper. 
This and 4 Drovers seeking their Sheep after a 
Storm/ (the picture which obtained the prize at 
the British Institution,) are the contributions of 
Mr. Cooper. The first-named is new ; it is an 
exquisite work, and to the full worthy of the es- 
tablished reputation of the artist in a walk of Art 
in which he remains unrivalled. 


No. 93. 4 Christ and the Woman of Canaan/ 
J. S. Agar. In this work there is much to praise ; 
free, bold, and broad painting ; fine conception of 
character, and an incident skilfully rendered. 

No. 94. 4 Portrait of the Right Hon. Lord 
Stanley/ T. H. Illidge. This portrait of the 
Colonial Secretary has been painted .for the Col- 
legiate Institution of Liverpool ; it is an admirable 
and striking likeness ; the expression and manner 
of the original have been hapily caught. It is full, 
length ; the attitude is easy yet commanding ; and 
some valuable accessaries have been judiciously in- 
troduced, which give relief to the composition with- 
out attracting attention from the main subject. 
The drawing is correct and the colouring unex- 
ceptionable. Mr. Illidge also exhibits a graceful 
and very effective portrait of a lady — No. 184. 

No. 100. 4 Maria/ T. Uwins, R.A. This 
beautiful little picture, a gem of the purest water, 
was one of the sweetest, though most unpresuming, 
of the works in the recent exhibition of the Royal 
Academy. 

No. 111. 4 A Lady Drawing/ J. Graham. 
A work of elaborate finish, yet rail of freedom and 
grace. The industry displayed in working out 
the conception may give a hint to many of our 
modem painters. 

No. 129. 4 Cherubim/ H. Lb Jbuxe. Ex- 
quisitely drawn and coloured ; a very simple com- 
position, but full of power. 

No. 141. 4 Gipsies Fording a Brook/ H. 
Jutsum. A good example of an artist who is 
always pleasing, generally excellent, and, at times, 
bids fair to be a candidate for a high place among 
landscape-painters. 

No. 145. ‘Virginia Discovered by the Old 
Man and Domingo/ H. J. Townsend. This 

E icture was exhibited at the Royal Academy ; it is 
ere seen to great advantage ; and bears us out in 
the high opinion we formed of its merits. The 
sad incident is related with great effect. Mr. 
Townsend exhibits another work — 4 Passing the 
Cup/ from a passage in the 44 Deserted Village” — 

“Nor the coy maid half willing to be press’d. 

Shall kiss the cup to pass it io the rest.” 

The scene is the interior of a village ale-houae : 
the light is singularly but happily managed ; and 
with a degree of skill seldom attained by artists 
who encounter so difficult a subject ; it is obtained 
from the single candle ; so that the major point of 
the picture is in shade. The work is of an ex- 
cellent order, and will add much to the reputation 
of the artist. There are few pictures in the col- 
lection that surpass it in some of the rarer quali- 
ties of the art. 

No. 149. 4 H odd on Chase, Derbyshire/ A. 
Vickers. A landscape of a right good class. 

No. 150. 4 Scene from the Devil on Two Sticks/ 
A. Egg. Though not a pleasant subject, this 
work possesses merit of the very highest order; 
and cannot fail to elevate the artist greatly in the 
opinion of all who see it. We have long watched 
the progress of the painter ; with much hope at the 
commencement of his career, but with less as he 
proceeded from year to year; he seemed indisposed 
to make the advance we anticipated. His two latest 
productions, however — this snd the 4 Cromwell’ now 
exhibiting by the Art-Union — manifest a resolve 
to proceed onward and upward which cannot be 
mistaken ; and we again augur his large success at 
no very distant period. This scene from 44 Le 
Diable JBoiteaux, describes a simple, silly youth 
supping with a pair of 44 Lucretias /* the character 
and expression given to each are admirable ; the 
weak wonder with which the victim admires the 
white hand of the sly wanton he is caressing, is 
capitally pourt rayed. As a composition it b very 
excellent ; and the execution b equally meritorious. 

No. 155. 4 Aspiration/ Sr. Gambardklla. 
The production of an Italian artist resident in 
London, to which we referred in treating of the 
British Institution. It b a work of high order. 

No. 156. 4 Looking across Hie Great Hall of 
Karnack, Thebes/ D. Roberts, R.A. One of 
the famous works of Mr. Roberts exhibited at the 
Royal Academy. 

No. 167. 4 Bad News from Sea,' R. Red- 
grave, A. R.A. With this touching and beauti- 
fully wrought picture most of our readers are 
familiar. 

No. 174. 4 Fresh Water Fbh/ G. Bulloch. 
We have never seen fish so naturally copied ; there 
b a wonderful degree of truth in the portraiture. 


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1842 .] 


THE ART-UNION 


233 


The group consists of a perch, a jack, a gudgeon, 
a carp, a tench, and a trout. 

No. 176. E. M. Ward. The picture of * The 
Blacksmith swallowing the Tailor's News a work 
of great ability, upon which we commented in 
noticing the British Institution. 

No. 191. ‘ Evening,' J. Townsend. A land- 
scape of considerable merit ; finely toned, and 
characteristic of nature in her calmest and happiest 
mood. 

No. 194. ‘ Harold the Dauntless,' R. R. M‘Ian. 
A bold and vigorous delineation of a romantic 
scene; conceived in the true spirit of the author. 

No. 198. * Kirkstall Abbey ;' No. 200. ‘Cattle 
on the Moor,' J. T. Eglington. Very pleasing 
examples of cattle painting in landscapes, by an 
artist of Liverpool. They are painted with care 
and study; and although miniature copies, are 
still veritable copies from life. 

No. 213. ‘ A Sluice.' J. Stark. This good and 
true painter, whose works are so essentially Eng- 
lish, contributes three or four pictures, all of them 
of rare value ; such as will be sure of appreciation 
with genuine lovers of nature and art. 

No. 214. 1 Nature,' R. Rothwell. This is a 
work of unquestionable genius — a simple, and ap- 
parently unstudied, picture of a young child playing 
on the sea shore. It has no accessaries to heighten 
effect ; it startles at once by the surpassing beauty 
of the model, the sweet and natural expression of 
the countenance, and the artless and graceful atti- 
tude into which the figure has been thrown. The 
face in its pure loveliness is as near an approach to 
reality as we have ever seen upon canvass ; it 
scarcely requires imagination to imbue it with life ; 
one might kiss the little laughing mouth, the fair 
forehead, or the rosy cheek, again and again, 
almost without knowing that it is a mere transcript 
of nature. So marvellously true is the mode in 
which it has been copied. \Ve have seen nothing 
of Mr. Rothwell’s that leaves so strong an impres- 
sion of his ability ; perhaps its great advan- 
tage is that he seems to have made no effort to 
produce it ; for it is notorious that he sometimes 
loses his effects by endeavouring to work them up 
too highly. On the whole, it is the gem of the 
Liverpool Exhibition. 

No. 217. * Paul and Francesca of Rimini,' 
H. O’Neil. This work will be recollected at the 
Royal Academy ; it is a loftier essay than our 
artists usually attempt, and it is a highly successful 
one. 

No. 232. ‘ Boys dressing Guy Fawkes,' T. 
Clater. A capital picture ; the subject familiar 
to our own boyish days. The march of intellect 
has sent Guy Fawkes to the tomb of the Capulets, 
but here is a monument of his existence that will 
gratify all whose young memories yet live. The 
group of urchins are dressing” the Guy in a 
stable; the work is nearly completed; and the 
patient donkey stands by, ready to parade him 
through the streets. One of them is putting the 
peacock's feather into his sugar-loaf cap ; others 
are finishing the decorations of his ragged gar- 
ments ; and all are full of enjoyment of the coming 
fun and pence. The story is told with great skill ; 
and will add to Mr. Clater's fame in picturing 
subjects of this class. 

No. 237. 1 Buy, Buy,' W. Bowness. A clever 
and remarkably well-painted picture of an Itiner- 
ant Italian Image-seller. 

No. 240. ‘ The Bay of Naples,' G. E. Hering. 
This also was exhibited at the British Institution ; 
the two other works, exhibited there by the same 
artist, are now in the gallery of the Art-Union 
Society. It gave us pleasure to refresh our sight 
by looking again upon this picture; a beautiful 
copy of one of the finest scenes in nature from the 
pencil of a painter who can do full justice to the 
glories of Modern Italy. 

No. 246. * The Awocatella, near La Cava,' 
J. Uwins. This young artist continues to im- 
prove, gradually but safely, in the best school and 
on the soundest principles, like his accomplished 
relative and master. His pencil has now obtained 
much settled power ; in his colouring he is firm 
and vigorous ; he cautiously eschews the meretrici- 
ous, both of design and execution ; and trusts for 
success alone to those whose discernment and ap- 
preciation are valuable. Already, he is behind 
few of our landscape-painters ; and he is on the 
way to pass by the majority of them. His time in 
Italy was not squandered. This picture may be 
classed among the best in the Liverpool collection. 


No. 269. * Nell and the Widow,' Fanny 
M‘Ian. A touching transcript of a touching 
incident. It will be remembered at the exhibition 
of the Royal Academy. 

No. 271. * River Scene with Cattle,' J. Ten- 
nant. A fine example of the ability of one of 
our most graceful, natural, and true English 
painters of landscape. The arrangement of the 
composition is in fine keeping with the character 
of the scene — a happy hannony of Art with 
Nature. The details are very simple; and they 
tell by their simplicity; for there are few un- 
familiar with the circumstances that make up the 
picture. No. 308. ‘ Distant View of Eritlr is a 
work of another class, but of equal merit. 

No. 378. * A View of Bolton Abbey, Yorkshire,' 
Copley Fielding. This large landscape paint- 
ing, in oils, the production of a master in the art 
of painting in water-colours, was one of the 
features of the late exhibition of the Royal 
Academy. Hung somewhat too high, in the great 
room of the gallery, and placed among gaudier 
and more attractive displays, it attracted compara- 
tively little attention ; and its singular merits were, 
in a great degree, overlooked. Those who ex- 
amine it in tlus collection, where it is far more 
advantageously situated, will not hesitate to pro- 
nounce it a chqf~d*<Buvre of the Art — a work, in all 
respects, calculated not only to uphold, but to in- 
crease the reputation of its accomplished producer. 
To arrive at this conclusion, however, it must be 
scrutinized closely. It will bear it. At first 
sight, the colouring seems thin and poor; but 
looked into, the most consummate skill will be 
sufficiently evident. It is a true copy of nature ; a 
pure, refined, complete and consistent example of 
Art. There is in it, indeed, nothing to startle ; 
but everything to satisfy. It is the offspring of a 
fine mind; the production of the pencil of a 
thorough master ; of one who we are full sure, if 
he please to paint a dozen pictures in this style, 
will, when the dozen have been painted, rank 
second to no artist in Great Britain. 

No. 291. ‘The Fetch of the Beloved,' C. A. 
Duval. A painted poem. It pictures an Irish 
superstition. The shadowy semblance of the be- 
loved appears to her lover at night-fall — the sure 
augury of an early and sudden death. The light 
drapery and misty form of the departed maiden are 
rendered with singular effect. The stars and the 
outlines of the mountains are seen through them ; 
yet the “ spirit” is clearly and distinctly expressed. 
The countenance of the lover is finely rendered ; 
it conveys rather the idea of confiding hope than of 
unmanly terror ; as if the warning were a welcome. 
The execution is equal to the conception— both are 
masterly. 

No. 344. ‘The Billet-Doux,' A. Solomon. 
A work of good promise. If the artist continues 
to progress in proportion as he has progressed 
within the last year or two, that promise will soon 
become performance. He is proceeding in the 
right path. 

No. 352. * The Drachenfels and Konigswater — 
Departure of the Ferry Boat,' H. Grittkn. A 
good example of one of our “rising” landscape 
painters ; who brings care and industry to the aid 
of talent. 

No. 357. ‘ An Autumnal Evening.' S. A. Percy. 
A good bold and manly style of work. 

No. 399. ‘ Study of Goats,' C. Jose. A work 
of elaborate finish, yet producing a most desirable 
effect, by its truth to the originals. The painter 
(with whose pictures we have been made familiar 
on the walls of Suffolk -street) comes very near some 
of the most valued of the old Flemish masters. 

No. 401. ‘The Reprieve,' C. H. Lear. A 
bold attempt ; and by no means an unsuccessful 
one. The figures are well drawn, and the story is 
told with striking effect. 

No. 434. ‘The Flower and the Leaf,' W. B. 
Scott. Old Chaucer is reading his poem to John 
of Gaunt and his sisters. The picture is an ex- 
ceedingly clever one, and bears intrinsic evidence 
of thought and study. The drawing is good, and 
although the colouring is comparatively weak, the 
artist has made amends by the judicious manner in 
which he has distributed nis lights and shades. 

The room devoted to water-colour drawings 
contains above a hundred good examples; and 
among the works in sculpture, albeit, there is no 
“room” for them, are several valuable speci- 
mens— the leading contributor being Mr. Spence, 
an artist of Liverpool. 


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MANCHESTER. 

The Twenty-first Exhibition was opened at the 
Royal Institution, Manchester, on the 3rd of 
September. It consists exclusively of the works 
of modem artists, and contains 522 pictures. 
A considerable number have been already exhibited 
in London : the Society of British Artists are 
extensive contributors ; but the aid received from 
our leading painters has been singularly, and we 
believe unusually, small. There is not, indeed, 
in the collection, one of a veiy striking character, 
nor one by which a reputation has been either 
obtained or secured. We cannot, therefore, con- 
gratulate the Directors on theii success ; there is 
evidently a want of energy somewhere ; the wealth 
of Manchester, notwithstanding its recent draw- 
backs, is proverbial ; and, in gone-by years, it 
was a famous market for works of Art of all 
classes. For some time past, however, its annual 
“ shows of the season ” have been gradually 
deteriorating ; few good pictures have been sent ; 
consequently, few have been purchased ; and the 
artists seem tacitly to have considered the trouble, 
and cost, and transmission, to be more sure than 
the chances of sales. There are, notwithstanding, 
some new works of merit ; to these our comments 
will be principally applied. 

No. 4. ‘ Fishermen preparing for Sea,' A. 
Clint. A work of high order; excelled by few 
of its class ; the time is evening ; the scene, ‘ on 
the Yorkshire coast ;' the boats are on the shore : 
the effect of sun-set is admirably given. The 
subject is well conceived, and carefully executed. 
Great skill has been shown in the' grouping and 
arrangements of the materials. 

No. 7. ‘ Scene from Twelfth Night,' H. 

O'Neil. Good, but scarcely good enough for 
the painter. He contributes two other works— to 
which the remark will apply. 

No. 21. ‘Children Crossing a Brook,' J. G. 
Pollitt. The artist is, we understand, a native 
of Manchester. He exhibits several works, and 
each advances some claim to notice — for each sup- 
plies evidence of fine feeling and thought ; although, 
m the whole, there is a sad lack of power in 
execution. No. 54, ‘ The Orphan and her 
Friend,’ is full of good matter ; and No. 27, ‘One 
of Ireland's Fair Daughters,' is as veritable a copy 
of nature as we have ever seen. 

No. 23. ‘Hungarian Ark, at Often, on the 
Danube,' J. Zeitter. The artist contributes a 
series of his Hungarian pictures ; we are familiar 
with most of them, but they will bear to be looked 
at again and again, for they have excellent quali- 
ties that make amends for a meretricious glare of 
colour that pervades the whole, and which Mr. 
Zeitter will ao wisely to study to get rid of. 

No. 29. ‘Woodland Scenery,' H. Jutsum. A 
pleasing and graceful composition; the cows are 
plodding homewards through the woodlands. The 
colouring is even more “ spotty " than usual, a 
defect against which Mr. Jutsum should guard. 

No. 43. ‘ A Flower Girl of Andalusia,' F. Y. 
Hurlstone. A portrait of much merit, but 
marred by the eternal blue. Mr. Hurlstone is an 
extensive and valuable contributor to the exhibi- 
tion ; and his works, chiefly, are here seen for the 
first time. No. 274, ‘ A Water Seller of Seville 
and Spanish Ragamuffins,' is one of his best pro- 
ductions. 

No. 44. ‘ On the River Lea, near Bow-bridge,' 
W. A. Brunning. A landscape of right good 
character, with evidence that the painter has 
studied in the right school ; the source upon 
which he draws may be, indeed, a little too ap- 
parent in this work, but it is less so in others 
equally clever; for example, No. 291, ‘ On the 
Sands at Boulogne.' We are not familiar with 
the painter’s name, but augur, from what we have 
here seen, better things hereafter. 

No. 47. ‘ A Mother and Child,' B. R. Faulk- 
ner. Very pretty, and very graceful, and with 
much merit as a work of Art. 

No. 52. ‘Touchstone, Audrey, and William, 1 
W. K. Keeling— is full of true and forcible 
character, and painted with skill and judgment. 
He exhibits otner excellent works, and among 
them — No. 273, ‘ Admonition.' 

No. 85. ‘ Salvator Rosa,' A. J. Woolmer. 

This and its associate — No. 91, * Scene from 
Tasso ' — are liable to the serious objection ol 
containingfar too little matter for the sizes of th< 
canvass. They are clever works, undoubtedly ; bul 

Joogle 



THE ART-UNION. 


[Oct., 


a small picture from the same hand — No. 309, 

‘ Viola at Olivia's Gate’ — is worth them both. 
This is, indeed, an exquisite little bit, full of talent ; 
and although, as usual, sketchy and unfinished, 
may be taken as an example of true art. Mr. 
Wool me r may produce great things, if he will to 
do to; but he must not shut his eyes to nature, 
and paint as if his lights and shades were all the 
creations of his dreams. 

No. 92. * Scherazade and the Sultan,' £. 

Jacobs. The work, we understand, of a foreigner 
—the first work he has exhibited in England. It 
is one of very remarkable character — singular in 
its execution, and almost fantastic in its style, but 
possessing unquestionable merit. Its leading fea- 
ture, is the effect of a brilliant Eastern sun-set, 
thrown upon the picture, and which, at first, 
seems produced by artificial means. 

No. 102. * An Old Water-mill— approaching 
Shower,' J. Wilson, jun. This is on the whole, 
perhaps, the gem of the Manchester Exhibition. 

It is a landscape of the highest merit, surpassed 
by very few productions of our British school, and 
not unworthy to rank with some of the most 
famous of the Flemish masters. It may be lauded 
in the most unqualified terms; as an accurate copy 
of nature, it has been rarely excelled, and it affords 
abundant evidence of careful finish. There is no 
attempt to produce effects by “slap-dash;" every 
part has been pondered over; industry has been 
as busy as genius. The style is bold and manly ; 
yet it would seem to have been minutely and 
elaborately wrought. We might select this as one 
of the most satisfactory examples of a class of Art 
in which our country has arrived at acknowledged 
eminence. 

No. 109. 4 Madge Wildfire and Jeanie Deans,' 
W. P. Frith. A comparatively early work of 
this accomplished painter, and one that, perhaps, 
gave the first evidence of his ability. It was easy 
to perceive that the producer of it was destined 
to achieve a reputation. 

No. 115. 4 Pilot going on Board,’ J. Wilson. 
A work which, like all the works of the painter, 
has many excellent qualities, and which gives no 
tokens ot 44 falling off." 

No. 123. ‘The Blind Bov at one of his Pranks,' 
J. P. Philip. The work of an accomplished 
mind. The story is told in three “ compart- 
ments" — in the centre, the mischievous boy is 
floating down a stream, on a lily leaf, in his bower 
of roses, the bower he has just built in the bosom 
of a tender lass, whose portrait is graceful and 
beautiful ; and on the other side she is consigning 
her dangerous ally to the mercy of the current. 
The painting is delicate in a high degree; it is, 
perhaps, unfinished, but the conception is unex- 
ceptionable, and the drawing admirably true. 

No. 128. 4 The Invalid,’ J. W. Kino. An old 
and pleasant acquaintance. There are two or 
three other excellent works by the same artist. 
No. 150, 4 The Garden Seat,' is a most touching 
picture ; we noticed it as one of the best perform- 
ances of younger aspirants in the exhibition of 
the Society of British Artists. 

No. 140. 4 The Autumnal Nosegay,' Miss 

Hunt. An exquisitely finished painting of flowers. 

No 163. 4 Interior in the Cliffs of Hastings,’ 
J. Tennant. The Droduction of one of our best 
landscape-painters; out this is an attempt, and 
a perfectly successful one, at another class of Art. 
The intenor of a fisherman’s cottage — the fisher- 
man, his wife, and child being introduced. The 
figures are painted as if the artist had been long 
familiar with a style too much neglected by land- 
scape-painters ; they are capitally drawn, carefully 
finished ; and the expression — for a story is told — 
is admirable. Every part of the work has, indeed, 
been carefully gone over ; nothing has been 
slighted; the back-ground, a bare wall, is toned 
with singular force, so as to throw out the points 
desired to be more prominent. The work is that 
of an artist of great ability, and is not the less 
welcome as an effort apart from an accustomed 
course. Mr. Tennant contributes several excel- 
lent landscapes that would do honour to any 
exhibition. 

No. 165. ‘Windmills near Ramsgate,’ J. C. 
Bentley. A capital work ; true to nature ; and 
with a depth and vigour of tone for which we were 
unprepared. 

No. 171. ‘View of the Head of Loch Fyne, 
with Dundarra Castle, Argyllshire,' Copley 
Fielding. No one who looks upon this work 


will hesitate to believe, that the painter in water- 
colours may, if he pleases, master the less manage- 
able material. It takes time to persuade tne 
world, that an artist can become famous in a new 
walk ; and many who have been accustomed to 
see him only in one character, distrust the evi- 
dence of their eye-sight, when they perceive him 
excellent in another. In this evil originates the 
vice of “ mannerism," of which all painters are 
more or less guilty. Copley Fielding has already 
done much to overcome this prejudice, and will, 
undoubtedly, do more. This is a noble and 
vigorous work, leaving no suspicion that the 
producer of it has been all his life an artist in 
water-colours. 

No. 172. 4 View of Rivault Abbey — the Rain- 
bow,’ J. Radford. A work of good promise, 
with too much effort at being “fine" in parts, 
but with evidence of taste and judgment notwith- 
standing. 

No. 186. 4 Scene from the Antiquary,' J. Peel. 
A clever conception, describing the moment when 
Edie Ochiltree destroys the day dream of the 
Antiquary — 44 1 mind the bigging o't." 

No. 206. 4 Moon-rising— Composition,’ J. B. 
Cromk. An excellent example, in a style of art 
in which the painter continues unapproachable. 

No. 223. 4 Lady and Child,’ A. Du Val. A 
I fine portrait — or rather fine portraits — of two most 


auspicious subjects. 

No. 242. ‘Near Chedder,' J. B. Pyne. A 
most true copy of nature ; free as nature herself. 

No. 244. 4 Money Changers— Siout, Egypt,' 
W. Muller. A work of the highest merit ; the 
production of an artist who has secured a reputa- 
tion second to that of very few who do honour to 
their country. The whole arrangement of this 
picture (money changers of Egypt) is excellent ; it 
is full of strong character— a deep reading of the 
human mind ; and as an example of colour, it is in 
all respects masterly. 

No. 247. ‘ Landscape, with Cattle,' T. S. 
Cooper. A very large picture— too large for the 
materials it contains, Dut worthy of the admirable 
artist. 

No. 258. 4 Boats on the Medway,* M. E. 

Cotman. A carefully studied work, with evi- 
dence of much improvement. 

No. 286. ‘Blondel,’ G. F. Watts. A well- 
drawn figure, coloured with much skill, and made 
to tell the story with no inconsiderable tact. 

No. 290. 'The Chapel of the Virgin, in the 
Church of St. Pierre, Caen,’ S. Raynkr. An 
interior. The artist promises well. 

No. 294. 4 May-Day,' T. Clatbr. A most 

agreeable picture, describing the pleasant sports of 
the olden time. The figures are somewhat too 
44 nice their holiday gear seems to have been all 
put on for the first time ; but the group is capitally 
arranged, and variety is preserved without confu- 
sion. 

No. 342. 4 Children heart-merry in a Grave- 
yard ; an old and contemplative Man looking 
thoughtfully on,' H. Le Jkune. The artist has 
exhibited better works, but there is in this the 
same evidence of genius that may be found in all 
his productions. 

No. 366. 4 Poor Nell,' W. Bgwness. A 

touching portrait of the hapless heroine of a sad 
story. Tne subject has been conceived and is 
executed in a fine and natural spirit ; the picture 
is not unworthy to associate with the book. 

No. 372. ‘The Glee Maiden,' Miss M. 
Faulkner. A most elegant and graceful por- 
trait ; a piece of painted poetry. 

No. 386. 4 Holy Water,’ H. Pickersgill. 
A young maiden at the entrance to a church; 
carefully drawn, ably coloured, and a fine con- 
ception of truth in character. 

No. 387. 4 Percy Bay, Northumberland,' T. 

M. Richardson. An excellent landscape, 
thoroughly English. 

No. 402. 4 A Street Scene, Salisbury,' W. 

Carpenter. A very clever work — the pro- 
duction of a young painter who is 44 rising ” ra- 
pidly. Much taste has been shown in the manage- 
ment of very simple materials; the figure of a 
young woman is admirably wrought. 

No. 411. The 4 Portrait of a oenutiful Maniac' 
— from the tale of 44 Le Diable Boiteaux," A. 
I Solomon. The work has merit of no common 
order, and justifies us in expecting much from the 
artist hereafter. It is forcibly conceived ; the 
appalling character is conveyed, indeed, with mar- 


vellous strength ; and, as a finished work, it is of 
considerable excellence. 

Our limits will not permit us to enter at greater 
length into this collection. As a whole, it is not 
satisfactory, although it contains many good and 
valuable works. 

We understand an “Art-Union" Society is in 
association with the Institution; the sum sub- 
scribed as yet is small; but surely wc may hope 
for a large one in wealthy Manchester. 

BIRMINGHAM. 

The Exhibition of the “ Society of Artists" was 
opened at the Rooms of the Society, late the Athe- 
naeum, on Monday, the 12th of September. Our 
readers are aware that this is a 44 removal" from 
the 44 Society of Arts," where the annual exhibi- 
tions have been heretofore held. The new gallery 
is very convenient, and sufficiently spacious ; it is 
well lit; and the pictures here appear to great 
advantage. 

On the whole, we do not hesitate to describe 
the present exhibition as the best that we have ever 
seen out of London. It really contains no pictures 
decidedly bad, and very few that can be character- 
ized as mediocre . The parties intrusted with the 
arduous task of collecting them were fortunate as 
. well as indefatigable ; we could scarcely have con- 
ceived it possible to bring together so many satis- 
factory works, after the other Provincial Institu- 
tions had been supplied, and while the 44 stores" 
of the Art- Union Society hung upon the walls of 
Suffolk-street. This looks well ; it carries convic- 
tion of an eeprit du corps on the part of the artists 
— to which, unhappily, the profession is too little 
accustomed ; and shows that they will act in 
concert whenever and wherever there is just oc- 
casion so to do. We trust that the patrons of 
Art in Birmingham will see this matter in its 
proper light, and give their co-operation to the 
managers of the Institution, by making even more 
purchases than usual. A large proportion of 
the works exhibited may be coveted by any col- 
lector of judgment and taste ; and very many of 
them will have been here seen for the first time. 
The rooms contain 422 works ; and among them 
is the 4 Hamlet’ of Maclise ; some of the best 
paintings of Etty ; 4 Dignity and Impudence,' a 
chef-d } (puvre of E. Landseer; suudry exquisite 
landscapes by Lee ; and a beautiful sketch — the 
Comus— of Hilton’s. 

The judicious arrangement of the pictures de- 
serves marked commendation; the 44 hanging" is 
very just ; due care has been taken to place the 
works, according as the lights may best serve them ; 
and no portraits— with one exception, a compli- 
men to the estimable President of the Royal Aca- 
demy — have been placed 44 upon the line; a plan 
by which the portrait-painters do not suffer, and 
which materially enhances the value and interest of 
the exhibition. The 4)50 prize, we should observe, 
will be again given. 

No. 1. 4 The Reverie of Alnaschar,' J. Brig- 
stock. Full of character, arid remarkably true to 
the famous store. We noticed the work in the ex- 
hibition of the Royal Academy. 

No. 6. 4 Charles I. receiving Instruction in 
Drawing from Rubens,' S. West. To this excel- 
lent work the observation also applies. It is here 
seen to great advantage, and will do good service 
to the reputation of the painter. 

No. 6. 4 Godaiming, Surrey — a Showery Day,' 
J. Morris. A landscape of much ability, mani- 
festing close and careful observation of nature. 

No. 10. 4 The Lake of Nemi,’ W. Linton. 
With less of effort than usual; and therefore, 
perhaps, better. The picture is redolent of Italy. 

No. 11. 4 A River Scene,' T. Creswick. Mr. 
Creswick is a large contributor to the collection, 
to which he has sent some of his best works. It 
was his duty so to do ; for he is a native of the 
town, — a fact of which his fellow townsmen are 
justly proud. 

No. 12. 4 Windsor Castle,’ W. Fowler. A 
pleasant and well-painted copy of the glorious 
Palace-castle of England ; its character and that 
i of the adjacent scenery, have been happily caught. 

No. 25. 4 La Siesta,' P. F. Poole. A title 
' borrowed from Italy, to a scene and circumstance 
. as thoroughly English as Cheshire cheese. This 
i savours of affectation ; which we should imagine to 
» form no part of the painter’s character, for very 
; few artists are more natural and true. Here is 
an example. A boy sleeping by the hedge-stile ; 


Digitized by 


■oogl 



235 


1842 .] 

a young girl has just discovered him, and looks 
down upon the unconscious youth with a happy 
mixture of mischief and pleasure. It is a sweet 
work, happily conceived and executed. 

No. 30. ‘ Rouen Cathedral,’ H. Gritten. A 
work of very considerable merit. The venerable 
structure has been admirably copied, and the cha- 
racteristic groups that surround it are introduced 
with skill and judgment. The artist has performed, 
with much ability, a very arduous task ; for it is no 
easv matter to render such a subject picturesque 
and attractive. 

No 37. ‘ The Embarkation,’ W. Collins, R.A. 
One of the beautiful, impressive, and effective com- 
positions of the master, in which landscape and 
figures are happily blended. 

No. 38. * Dignity and Impudence,’ E. Land- 
seer. Few who have seen it will have forgotten 
this picture. It was the gem of the exhibition, 
last year, at the British Institution ; and has been 
kindly lent to the Birmingham artists by its fortu- 
nate possessor, Jacob Bell, Esq. 

No. 45. 4 A Contest of the Lyre and Pipe in the 
Vale of Tempe,’ F. Danby. A. R.A. This work 
will be remembered in the exhibition of the Royal 
Academy. It possesses merit of a high order — 
fine as a composition, beautiful as a landscape, and 
altogether excellent in execution. 

No. 46. 4 The Dance,’ W. Etty, R.A. The 
admirable work of the master, exhibited also at the 
Royal Academy. The collection contains others 
of Mr. Etty — all capital and valuable aids to the 
student. 

No. 48. 4 Portrait of a Boy,’ Sir M. A. Shee, 
P.R.A. A work that possesses qualities of rare 
merit ; it is the production of a careful hand and 
a judicious mina, whose taste, knowledge, and 
experience forbid any fanciful freaks, as apart 
from the purpose of the portrait-painter. 

No. 49. 4 A Lane Scene near Kinfare, Worces- 
tershire,’ H. II. Links. A well -arranged and 


THE ART-UNION. 


skilfully-painted landscape, the production of an 
artist of Birmingham. 

No. 54. 4 The Unrelenting Lord,' J. R. Her- 
bert, A.R.A. A painful subject, the choice of 
which is not compensated for by the merit it un- 
doubtedly has, in composition and execution. 

No. 56. 4 Fruit,’ G. Lance. As usual, a work 
of wonderful excellence. Such pictures will surely 
lessen the 44 marketable value” of productions — 
copies of similar objects — by some of the old 
masters. 

No. 61. 4 The bashful Lover and the Maiden 
coy,’ F. Stone. A pleasant picture, true to na- 
ture and to 44 fact.” 

No. 65. 4 The Look-out — Swiss Soldier of the 
Sixteenth Century,’ J. A. Houston. If we mistake 
not, this picture was in the exhibition of the 
Royal Academy ; at least we remember one very 
like it, hung where we had some idea of its merit, 
but where it could not be fully appreciated. Here 
it has absolutely startled us, as the production of an 
artist whose name is comparatively unknown. It 
may be placed in comparison with any work of its 
class, the production of modern times. If the artist 
be a young man (of which we have some doubts, 
for the picture looks matured), he is destined to 
occupy a foremost rank in his profession. The 
drawing is admirable ; the whole arrangement of 
the subject is unexceptionably good ; and its exe- 
cution is at once delicate and vigorous. The ex- 
pression of the soldier on 4 the look-out,' from 
the summit of a cliff, which commands the ad- 


jacent valley, is highly characteristic, and all the 
minor details aVe 44 put in” with care and thought. 
There is in the subject, apart from the mode in 


which it has been treated, absolutely nothing ; yet 
genius can make, in a better sense than that inti- 
mated by the adage, mountains of molehills. Mr. 
Houston, be he who he may, is an acquisition to 
the Arts. We bid him go on and prosper. 

No. 70. 4 Dorothea,’ J. J. Hill. This also is 
the production of an artist of good promise. The 
old familiar subject is given with much taste and 
judgment. 

No. 71. 4 Landscape;’ No. 77. 4 Water Mill,’ 
W. Muller. This admirable artist is a large con- 
tributor to the exhibition ; but his works, we 
believe, are lent by proprietors of them, resident 
in Birmingham. Here are two exquisite examples 
of the one class of Art, painted with exceeding 
truth to nature and with great vigour and delicacy : 
a little less use of sombre tints, and Mr. Muller 
would hold a very foremost rank as a landscape- 


painter. It is not, however, only in this depart- 
ment of the art that he excels ; he has here one 
or two examples of groups, that have rarely been 
surpassed for vigour of tone, accuracy of drawing, 
ana expression of character. 

No. 74. 4 The Raising of Jairus’s Daughter,’ 
Theodore von Holst. This was one of the 

f rize pictures of the British Institution last year. 

t is a noble work ; of the highest and best class. 
We fear it has not found a purchaser ; and this we 
regret, first as lowering our estimate of the taste 
of the age, and next as discouraging to the artist, 
whom we have been very anxious to see devoting 
his pencil to the production of works less outre 
than he generally produces. 

No. 75. 4 The Play Scene in Hamlet,’ D. 
Macltse, R.A. This picture would alone form 
an exhibition : fortunes have been made by 
44 carrying” works infinitely inferior throughout 
the country. It is here seen to very great advan- 
tage. The more we have examined, the more we 
are disposed to class it almost, if not altogether, 
at the head of the British School of Art, among 
the imaginative and inventive of its creations. It 
is so full of matter, so finely treated; it affords 
such indubitable evidence of genius of the highest 
order ; and is at once so glorious in conception, 
and so admirable in execution, that we laugh to 
scorn the hypercriticism that would take no note 
of its vast merits, because of certain defects of 
colour that, in marring its value, amount to about 
as much as a spot on the sun. 

No. 79. 4 Portrait of James Montgomery,’ 
T. H. Illidge. A striking and capitally painted 
likeness of the poet. 

No. 86, 4 Venice,’ J. Holland. Very beauti- 
fully wrought ; the arrangements of the work being 
all in good taste and judiciously introduced. 

No. 92. 4 Portrait,' F. T. Lines. An excellent 
portrait ; carefully studied and finished ; the pro- 
duction of a Birmingham artist. 

No. 93. 4 Furness Abbey’, F. H. Henshaw. 
Also the work of a Birmingham artist ; and a good 
and agreeable copy of the famous abbey. 

No. 94. 4 The Road-side Inn,’ H. M. Anthony. 
An excellent work, of right good promise. We 
are not familiar with the artisrs name, but expect 
to meet it often hereafter. There are few works in 
the collection that possess greater merit. 

No. 95. 4 The Duel Scene from Twelfth Night,’ 
W. P. Frith. A new work by this admirable 
artist, and one that will, at least, sustain his fame. 
It is a capital reading of the subject, painted with 
matured skill ; the characters have been happily 
rendered ; and it is well drawn, and coloured with 
great ability. 

No. 100. 4 Wild Flowers,' R. Rothwell. A 
simple portrait of a simple child ; a work of great 
delicacy and refinement, and with sure evidence 
of genius in the conception and execution. 

No. 103. 4 The Return of the Knight,’ D. 
Maclise, R.A. Another of Mr. Maclise’s famous 
productions, and by no means the least interesting 
or meritorious of his works. 

No. 105. ‘The Saint Manufactory,’ T. Uwins, 
R.A. This work was exhibited at the British In- 
stitution. It is full of matter, treated with skill, 
judgment, and a thorough professional knowledge. 

No. 108. 4 Fisher Boys,’ H. Thompson, R.A. 
To examine a work by this excellent artist is a rare 
treat now-a-days, for Mr. Thompson has long re- 
linquished the pencil and # retired from a profession 
to which he aid honour. This is a sweet and 
simple picture ; one of the best of the modern 
school. It was engraved in Mr. S. C. Hall’s 
44 Book of Gems.” 

No. 112. 4 Going to Plough,’ D. Cox. A waste 
common ; very true to nature ; carefully and 
thoughtfully painted. 

No. 113. 4 The Lady in the Enchanted Chair,' 
W. Hilton, R.A. A sketch of rare value. One 
of the few legacies of the great painter to lovers of 
veritable Art. 

No. 116. 4 Landscape,’ F. R. Lee, R.A. A 
beautiful work, worthy of the accomplished artist. 

[We pass over the collection of paintings in 
water-colours, of which there are many admirable 
examples.] 

No. 200. 4 Fruit,’ W. Dufpield. We have not, 
heretofore, met the name of this artist ; and have 
been not a little astonished to behold a work of sur- 
passing merit — equalled by none of its class, with 
the exception of the proauctions of one painter ; 
and even these we except with some hesitation. 


The 4 Fruit’ of Mr. Duffield is less perfect in 
minor details, less highly wrought in its small 
44 finishings ;” but as a copy of reality, it is fully 
equal to anything we have ever seen. 

No. 219. 4 King James confering the honour of 
Knighthood on Richard Monoplies,’ J. E. Lau- 
der. A capitally painted picture; full of point 
and character. 

No. 2 1G. 4 The Stile,’ R. Redgrave, A. R.A. 
A beautiful little work, that 44 smacks” of the 
green hedge-rows, and the nature that lives among 
them. 

No. 263. R. Dadd. This work was one of 
the attractions of the exhibition at the Royal 
Academy, notwithstanding that it was placed 
where the mere crowd of gazers would pass it by 
unnoticed. It pictures that passage from the 
Tempest , where the fairies gather by moonlight on 
the 44 yellow sAnds and it is not unworthy of the 
fine poetry it illustrates. 

We must draw this notice to a close ; and still 
leave without comment many excellent, valuable, 
and interesting works. With a large proportion 
of the remainder, however, our London readers are 
acquainted: such are those by Ward, 4 The 
Widow of Edward IV. delivering up her Children ;’ 
O’Neil, 4 A Monk Reading;’ W. Patten, ‘The 
Dead Bird;’ Joy, 4 Don Quixote Disarmed;’ 
Stark, 4 Windsor Great Park ;’ Pyne, 4 Shore- 
hnm;’ E. W. Cooke, 4 Dutch Fisher’s House;' 
Woolmer, 4 Lucy Ashton ;* Rippingille, ‘The 
Two Daughters of the Brigand;' R. S. Lauder, 

4 Meg Merrilies ;’ T. S. Cooper, 4 Sheep and 
Goats;’ Jutsum, 4 Mill, North Devon;’ La- 
tilla, 4 The Orphan of the Alps ;' A. Montague, 

4 Cottage near Windsor;’ M. Claxton, 4 The 
Madonna della Sedia H. H. Horsley, 4 The 
Weary Drover ;’ & c. &c. &c. 

Birmingham Society op Arts. — An exhi- 
bition of 44 works by deceased masters of the Ita- 
lian, Spanish, Flemish, and English schools” has 
been opened at the rooms of this Society. It con- 
sists ot 316 pictures ; several of which are of vast 
value; but, as will be supposed, the greater num- 
ber are worth little more than as aids to contrast, 
and to augment the catalogue. The principal con- 
tributors are the Marquis of Anglesey, Sir Francis 
Lawley, Lord Lyttleton, Earl Craven, and Lang- 
ford Kennedy, Esq. ; but many of the gentry in 
the immediate neighbourhood of the town have as- 
sisted in forming the collection. The number of 
44 lenders” amounts to 85 ; and of the artists, 
whose works are exhibited, there are no fewer than 
116. The principal pictures are those by Rem- 
brandt, Quintin Matsys (a duplicate of 4 The 
Misers’), Canaletti, Guido, Vandyck ; Hobbima, 
Claude, Murillo, and David Teniers; the cata- 
logue contains a brief but interesting memoir of 
each, compiled with care and industry. 

The exhibition is very interesting and very 
useful, and cannot but supply vast stores of know- 
ledge, upon which the artists of Birmigham may 
draw. 


[We cannot quit this subject without offering a 
few remarks, in reference to the unfortunate dif- 
ferences that have led to a separation of the 
44 professional” and 44 unprofessional” members 
of the Birmingham Society of Arts. 44 Unfortu- 
nate” we term it unhesitatingly ; in union there is 
strength ; a house divided against itself falleth : to 
the community, at any rate, no possible advantage 
can arise out of the division, and in the end it will 
work evil to the artist as well as to the other party. 
We had great hopes that the dispute might have 
been settled by “arbitration;” but this seems now 
out of the question : the Birmingham artists have 
obtained the co-operation of their brethren — a fact 
creditable and honourable to both ; they have, as 
we have shown, succeeded in getting up an admi- 
rable exhibition, and they are consequently indis- 
posed to “listen to terms,” even if terms were 
offered. They must now, consequently, work 
alone ; we earnestly hope they will be successful — 
not in getting up an annual exhibition — of that we 
have no doubt ; or of making it answer their own 
individual purposes — of that we have as little ; but 
in extending a taste for, and a knowledge of, Art in 
the good town of Birmingham — a town where the 
improvement to be derived from the Fine Arts is 
especially needed, and where it may be made 
most practically useful. 

Having made all due inquiry into the subject, 


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236 


THE ART-UNION 


[Oct., 


we do not hesitate to acquit the artists of Binning- 
ham of all blame ; circumstanced as they were, we 
do not well see how they could have acted other- 
wise than they did act ; for the inevitable conse- 
quence of the new arrangements of the Society was 
to “ shelve them” altogether; to make them no- 
minally members, but in reality no more members 
than the porters who wait at the gate.* This ought 
not to have been ; there was neither wisdom nor 
necessity to justify such a course, and the artists 
manifested a right and proper spirit in resisting it. 
Besides their greater professional knowledge (which 
of course cannot be disputed) , they were at least 
upon a par with a large majority of the members 
as regards the positions they occupy in society. 
Intellectual pursuits confer rank — a rank that may 
not be so readily acknowledged in a trading town, 
but which is recognised in higher places and by 
higher authorities. Without desiring to go very 
deeply into the matter — but wishing rather to 
forget it — we must say the law which protected the 
artists was abrogated in spite of justice, and that 
they were not dealt with either fairly, generously, 
or wisely. 

We owe so much to those gentlemen, whose 
cause we may have seemed to have deserted — 
merely because we waited to examine into the 
cases prepared by both ; and had some hopes that 
the dispute would have been adjusted without 
asking for a verdict. 

We regret, exceedingly, that such has not been 
the result ; and now we earnestly hope that both 
institutions will do all the good they can for Bir- 
mingham — that the artists will take care to make 
their annual exhibitions satisfactory and useful-— 
but that they will not stop there ; that they will 
bear in mind they have duties less agreeable and 
less profitable, but infinitely more important ; and 
that the Society of Arts will render their branch 
of the School of Design really and practically ! 
useful to the youth of their town, and fill their 
library and studio with works more advantageous 
than a copy of Piranesi, and casts of the Venus 
and Apollo.J 

NORWICH. 

The first exhibition of “ the East of England 
Art-Union” has been opened at Norwich. It is 
highly satisfactory ; and will no doubt contribute 
to reinstate the Arts in the wealthy and prosperous 
county of Norfolk. The collection consists of 215 
works ; a large proportion of them have been sup- 
plied from London, but not a few by artists of 
the good town and neighbourhood. Our limits 
will not permit us to particularize ; but we may 
mention among the list of contributors the names 
of Stark, Tennant, Pyne, Zeitter, Joy, Jntsum, 
Clint, Holland, Ward, Rothwell, J. Wilson, 
Knight, E. W. Cooke, Hollins, and Prentis. 

The selection has, we perceive, been properly 
made, with a view to answer the purposes of the 
Art-Union Society ; and we trust the subscription 
will be such as not only to have justified the ex- 
periment, but to lead to one upon a higher and 
more extended scale. 


Plymouth. — The drawing of the prizes of the 
West of England Art-Union will take place at a 
public meeting, to be held in Plymouth for that 
purpose, on Monday, the 3rd of October. 

York. — The School or Design. — Our 
readers are aware, that a branch of the School of 
Design is about to be established in the ancient 
and venerable city of York. W. Dyce, Esq., the | 

* “ In the union with the Society of Arts, in the year 
1830, certain powers and privileges were accorded to 
the artists, to secure to the Society the full advantage 
of their professional knowledge, and to enable that 
knowledge to be brought to bear upon the Institution, 
and through it upon the town at large. For twelve 
years the artists have exerted themselves with success, 
and by uo act have they forfeited their right to those 
privileges; in spite of this, the Unprofessional Com- 
I mittee of the Society of Arts proposed and carried a 
measure at a General Meeting, July 12, 1842, depriving 
the artists of the privileges alluded to, thereby reducing 
them to such a position in the Society, as would be 
degrading to them as a body, and render their exer- 
tions in the Institution utterly useless. 

“ In this extremity, the artists determined— rather 
than that those results on the public mind, which they 
had effected with so much perseverance and applica- 
tion, should be lost— that they would establish a new 
and independent society for the support and advance- 
ment of the Arts, to which they could apply that expe- 
rience which was the only guerdon of their long ser- 
vices .” — Address of the Artiste. 


Director of the Metropolitan School, was a few 
days ago introduced to the Yorkists, at a public 
meeting, by his friend and brother artist, W. Etty, 
Esq. — a native of the old city, of which he is justly 
proud, and to which he has, on many occasions, 
rendered essential services : his success in obtain- 
ing this advantage for York, being not the least of 

them. On this occasion, he delivered an eloquent 
speech; from which we must content ourselves 
with extracting a few passages : — 

** It was determined to establish six provincial branch 
schools for three years at an experiment. It has been 
my good fortune to obtain for my dear native city one 
of these, and the first that has been begun ; its being 
continued to be patronised by Government after that 
time will depend upon its success, and on the manner 
in which the objects it is intended to promote are 
carried through. Their object is not to create a race of 
artists for the higher and more intellectual exertions of 
Art; their aim is directed to a less ambitious, but I 
hoped more useful end ; it arises from a prudent and 
wise design on the part of government, to give our 
manufacturers and artisans in every branch of indus- 
trial occupations which the art of drawing is at all 
applicable to improve, the means of competing with 
our continental neighbours in matters in which until 
now, and even yet, they are presumed to be our 
superiors, by the taste and skill in designing patterns. 

It is intended to improve, amongst others, the painter 
ou glass, that modern works may more successfully 
imitate ancient excellence; that our masons may be 
able to design and work in the true taste, and success- 
fully restore our dilapidated churches ; it is intended, 
in snort, to apply those assistances which have so long 
been wanted, to all the various trades and professions 
which require the skill of the draughtsman. These, 

then, are the legitimate objets of this school of Design. 
Mr. Dyce delivered an introductory address, in which 

he dilated upon the present condition of this country 
with reference particularly to designs in manufactures, 
pointing out the difference that existed in the taste as 
to designs between this country especially and France, 
and dwelling at some length upon tne great advantages 
that would result to this country by tne formation and 
successful carrying out of the objects contemplated in 
branch schools of design generally. He was of opinion, 
that York was a most favourable locality for a branch 
school of this description, being a place retired, in a 
certain degree, from manufacturing districts; and at 
the same time situated in the neighbourhood of exten- 
sive manufactures.” 

In reference to these 41 Schools of Design,” we 
hope to have some communication to make ere 
long. Upon this subject, however, hitherto we 
have been pretty much in the position of the 
“ Needy Knife Grinder:” 

“ Story, Lord bless ye, I’ve none to tell, Sir.” 

Belfast. — An Exhibition of Pictures by British 
Artists is announced to be opened, during the 
month of October, in this wealthy and enlightened 
town of the north of Ireland. The pictures are to 
be received in Belfast “ on or before the 1st of 
October ;” so that this notice will be of no value 
to those who may read it. We regret that infor- 
mation on the subject was not conveyed to us at 
an earlier period ; for sure we are that many artists 
of London would very willingly have contributed ; 
circulars, however, have been sent pretty exten- 
sively, and we trust that a good exhibition will be 
the result. The projectors, however, must not be 
discouraged if this first attempt should be a com- 
parative failure ; for the three English provincial 
exhibitions have absorbed nearly all the available 
materials of the painter. An Art-Union Society 
is to be incorporated with the Institution; the 
following is the leading paragraph of the pros- 
pectus : — 

” That for the purpose of giving general satisfaction 
to the public, ana avoiding all grounds of complaint on 
the part of the artists concerned, the system of prizes, 
as acted on by the London and leading Provincial Art- 
Unions, be adopted, which leaves the choice of Works 
of Art to the taste of the Prize-holders themselves, 
merely limiting the selection to Works of Art in the 
Exhibition.” 

Royal Irish Art-Union. — The Hon. Sec., 
Stewart Blacker, Esq., has addressed a letter to 
the AtheruBum , in consequence of an assertion 
having been made in that journal to the effect that 
the price asked by the artists themselves for all 
the pictures in tne Irish (Hibernian) Academy, 
from which selection was to be made by the society, 
did not amount to so large a sum as the amount 
subscribed by the Art-Union. This was so evi- 
dently a mistake that we were surprised at the 
journal’s falling into it; we ourselves, indeed, 
thought and said that the whole collection was not 
worth the £3700— which the Society had to expend. 


cording to their estimate — was £6000 ; not double 
the sum subscribed. It would not, however, 
puzzle us much to account for this ; Mr. Blacker 
could easily point out pictures valued at £50, for 
which no person in his senses would give £5 ; and 
he knows, also, that in many cases the sums 
asked were not the sums given . Mr. Blacker 
asserts that the exhibition was the best that has 
been opened in Dublin : our only answer need be, 

“ bad is the best.” The Art-Union did — we say 
it without the fear of contradiction — purchase many 
wretched productions because they were compelled 
to expend a large proportion of tbeir funds in the 
gallery, and had previously bought all the pictures 
that were good. This evil will not occur again ; it 
cannot if artists of ability will contribute to the 
collection; it shall not be our fault if thev do not. 
We turn to a more pleasing part of Mr. Blocker’s 
letter : — 

”1. For several years previous the exhibitions of the 
Hibernian Academy bad been gradually growing worse ; 
they did uot pay their own expenses; and nothing 
supported them but the praiseworthy zeal of the 
artists and a trifling government grant : and the year 
before our Society was established there was m* 
exhibition in the Irish metropolis. Since our operations 
commenced the exhibitions have been every year 
steadily improving in the appearance of the works and 
the attendance of visitors T and are becoming more 
creditable and remunerative in every’ way to the 
Academy and to the artists.— 2. At oue of the first 
meetings of our Society, it was stated by a gentleman 
connected with the Hibernian Academy, who ought, 
from his position, to have been the best cognizant or 
the fact, that for the four previous Annual Exhibitions 
not a single purchase has been made from the walls of 
the Academy with the exception of three water-colour 
drawings for thirty shillings. Since our Society has 
come Into operation, I am glad to say, that, independ- 
ent of the handsome sums it has brought to bear on 
this desirable object, private patronage has been not 
merely stimulated into action, but, I may say, as fur 
as this country is concerned, absolutely called into 
existence; and the committee have bad to scramble 
with some of their own members for the best works, 
and in several instances have been fairly thrown out— 
the private purchaser anticipating them by a prompt 
and liberal offer to the deserving artist.— 3. With refer- 
ence to its effects on the higher and middling classes, 
in a country where, from the prevalence of political 
and religious animosities, it has been found hitherto 
impossible to make the various parties coalesce in one 
common object for national improvement and civiliza- 
tion, such has been the softening and refining in- 
fluence of this Society, that persons of all shades of 
politics and religious opinions meet as if on a common 
ground, and work together with the greatest cordiality 
and good feeling, with reference to its effects on the 
lower classes, the Society throws open annually its 
exhibition of the works selected by the committee to 
the public at large. For the last fortnight this has 
been daily thronged by crowds of all classes: re- 
spectable operatives and their families, schools and 
public institutions connected with education, mechanics 
and servants of all a^es and conditions, yet not a 
single instance of injury or irregularity ’occurred. 
Donnybrook Fair was ragingat the time, and several 
masters, who refused their apprentices and dependents 
leave to join its drunken revelries and demoralizing 
vortex, made up for it by sending them to the Art- 
Union Exhibition.” 

We heartily wish Mr. Blacker and the Committee 
the success they deserve ; hoping they will not, 
hereafter, be compelled to make purchases of which 
they are ashamed ; nor be forced, by pressure from 
without, to pay another hundred pounds for the 
loan of a water-colour drawing. 


ART IN CONTINENTAL STATES. 

ITALY.— Bologna.— Academy of Fine Arte. 
—The programme has been published by the Aca- 
demy of Fine Arts for the competition for 1843. 
We merely give the subjects proposed : — 

For Architecture. — Designs for a Custom-house 
on a great scale, for a large city. Besides the 
elevations of the building, there must be given, on 
a larger scale, separate drawings of the principal 
parts, and a clear account of the artist's views as 
to the disposition of the whole. 

Historical Painting. — ‘ Menelaus and Meriones, 
who carry the Body of Patroclus, while the Tro- 
jans, who wish to seize it, are repulsed by the two 
Ajaxes.’ To be painted in oil; in height seven 
Roman palms, in breadth ten. 


Drawing of Figures.— Judas in despair throw- 
ing the price of his treachery before the high 
pnests and elders. 

Plaster Ornaments . — Baptistery for a Cathedral. 
But the producers of the works, of course, thought I Engraving. — Copper engraving of a picture by 
otherwise ; and it appears the aggregate value — ac- a good master, which has not before been well 


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1842 .] 


THE ART-UNION 


237 


engraved. It must contain at least one whole- 
length, or more than one half-length figure. 

The prizes are gold medals of various values. 
The works for competition most be presented at 
the Academy of Fine Arts on the 30th of June, 
1843. The competition is open to the artists of 
all nations. 

FRANCE. — Paris. — Hospital qf the Young 
Blind. — For some days past the extremity of 
the Rue de Sevres has been crowded by persons 
wishing to see the front of the Hospital of the 
Young Blind, which has been uncovered. It is 
very nne, both as to invention and execution, and 
is the work of M. Jouffroy, that young artist 
whose statues of 4 A Young Girl confiding her 
Secret to Venus,’ and 4 Disenchantment,’ were so 
well received by the public at the exhibitions in 
the Louvre. 

Duke qf Orleans. — The Duchess of Orleans has 
presented to General de l’Etang a full-length por- 
trait of the late Duke, requesting him to consider it 
as a testimony of the attachment the prince bore to 
him, and as a remembrance of his afflicted widow. 

Acadfmie des Beaux Arts. — The Royal Aca- 
demy of Fine Arts has given its judgment on the 
competition in engraving. The first prize has 
been gained by M. L. D. J. Delemer, of Lisle, 
aged 28, pupil of M. Muller; the second by 
M. A. A. S. Coiller, of Paris, aged 21, pupil of 
M. Forester. Subsequently the prizes for Archi- 
tecture and Sculpture have been adjudged : the 
first great prize in Sculpture to M. Pierre Jules 
Cavalier, of Paris, aged 28, pupil of Messieurs 
David and P. Delaroche ; the first great prize in 
Architecture to M. Phillippe Auguste Titeux, of 
Paris, aged 28, pupil of MM. Blouet and Depret. 

Beziers. — Public Monument. — The bust in 
marble of the Pere Vaniere, a celebrated Latin 
poet, and a native of this place, has recently ar- 
rived : it is destined to be placed on a column, to 
ornament some part of this town. It is the work 
of M. David d’ Angers, and is taken from a medal 
struck in the time of Louis XIV. 

GERMANY.— Frankfort on the Maine. — 
Goethe.—' The governments of Austria, Prussia, Ba- 
varia,Wirtemberg,andSaxony,haveagreedmutuaUy 
to become the purchasers of the house at Weimar, 
inhabited by Goethe, and of the rich treasures of 
objects of Science and Art which are collected 
there. They are to be kept together intact, and 
presented to the German Confederation, to be 
formed into a national and public museum, under 
such regulations as shall be thought proper by the 
Germanic Diet, under whose direction and super- 
intendence it shall be placed. The heirs of 
Goethe, considering the noble objects of the five 
governments have offered the property for the sum 
of 600,000 florins (£60,000), being a third less 
than the sum at which the house and effects have 
been estimated. 

Cologne. — The Cathedral. — The foundation- 
stone for the works to complete the cathedral of 
Cologne, was laid on Sunday the 4tli of Septem- j 
ber, with great pomp by his Majesty the King of 
Prussia. A document was placed under the stone, 
to the purport that the completion of the cathe- 
dral is a testimony of the piety, concord, and 
fidelity of the various German states. There are 
appended the signatures of about sixty royal, 
noble, and distinguished personages, commencing 
with those of the King and Queen of Prussia ; 
among them is the illustrious name of Humboldt. 
Of English we observe Prince George of Cam- 
bridge and Lord Cardigan. The names of the 
president of the committee for the cathedral, 
Steinberger, and Zwirner, the architect of it, are 
also included. 

Bavaria. — Munich.— It is believed that the 
Kings of Prussia, Saxony, and Wirtemberg, the 
Grand Dukes of Baden and Weimar, and other 
German princes, have accepted the invitations of 
the King of Bavaria, to be present at the inaugu- 
ration of the Walhalla. 

ST. PETERSBURGH. — Horace Vernbt. — 
The court of St. Petersbugh shows friendly feel- 
ings towards France. The court put on mourning 
for a fortnight for the Duke of Orleans, and it is 
said that Horace Vernet is much in the good 
races of the Emperor Nicholas, insomuch that 
o is reported to be the bearer of a letter to Louis 
Phillippe, whose scope is political as well as condo- 
latory ; and also of a verbal confidential message. 
If so, Horace Vernet is an Ambassador— the first 
painter so employed since Rubens. 


America. — Pettrich, the American sculptor, 
who we believe was said to have been murdered 
in his studio at Philadelphia, is recovering the 
effects of the wounds inflicted on him. He has 
lately modelled a statue of Washington, for the 
inhabitants of Philadelphia, the cost of which 
was, as usual, to be defrayed by subscription, 
but the amount subscribed has been lost, “ by 
some misadventure a circumstance which pre- 
vents the execution (at least at present) of the 
work in marble. Mr. Healey, one of the most 
distinguished artists of the United States, has 
executed portraits of the President and some 
members of his family, which are very highly 
spoken of. 

New York. — An Art-Union Society — called 
44 The Apollo Association” — has been established 
at New York ; the object of which is 44 to advance 
the cause of the Fine Arts in the United States, 
to cultivate and improve public taste, and to afford 
additional encouragement to our national artists, 
by the purchase and distribution of their works. 
This Association, the first of its kind established 
in the United States, has, in the short time since 
its commencement, distributed among its sub- 
scribers fifty-eight works of Art in painting and 
sculpture, costing 6264 dollars, and the members 
of the two last years have each received a copy of 
two elegant engravings, costing about 1000 dollars.” 
We have been long anxious to obtain some idea of 
what the artists are doing, and how the Arts pro- 
gress in the United States ; but have been hitherto 
unable to obtain any satisfactory information on 
the subject. In England we have seen very few 
of their works. 

CORRESPONDENCE. 

METALLURGYAS A FINE ART. 

Sir, — In considering the ductile, fusible, and 
other peculiar properties of the metals, gold, sil- 
ver, iron, bronze, &c., in contradistinction to the 
nature of the productions requisite for embodying 
the ideas of the sculptor and architect, viz. mar- 
ble, stone, wood, compositions, &c., it becomes 
a self-evident truth, that they afford facilities for 
the execution of a species of design, exclusively 
applicable to themselves, and unattainable in any 
of the latter materials ; and that, consequently, by 
their means, the sphere of genuine Art may be 
enlarged to the increase of our means of refine- 
ment, and the great benefit of the manufacturing 
and commercial interests of the country. 

In viewing, however, the present state of the 
art of design in metals, more particularly silver, 
it will almost invariably be found, that, with the 
exception of designs ranging within the province 
of the sculptor’s art, they belong to a class 
termed manufacturing, a species of design, in the 
production of which, the genuine principles of Art 
are either not understood or disregarded, or where- 
in the Art, if any be exhibited, is subordinated to 
utility, facility of execution, Ac. ; and the attain- 
ment of novelty, or a desire to meet the caprices 
of fashion, is the only aim of either the artist or 
manufacturer. Now in reference to all articles of 
use, it may probably be better that such a state of 
things should continue to exist ; that all house- 
hold utensils for instance, after having served their 
purpose for a few years, or a generation, should give 
place to others of greater interest; as exhibi- 
ing the progress of the national taste, and the 
changes or improvements in the mechanical arts. 
But notwithstanding; the limited extent to which 
the arts in silver structure have been carried, it 
is obvious, that the class of works denominated 
ornamental, prize, and presentation plate, which, 
whether regarded as commemorations of events, 
or as honorary tributes to individuals, are pecu- 
liarly destined to preservation ; and therefore, 
most legitimate objects for historic and poetic de- 
sign, in due subordination to the genuine principles 
of Art. 

In turning attention, also, to our more important 
and extensive works in the baser metals, that of 
iron especially, we find, that with the exception of 
those of the civil and military engineers, and the 
ordinary works to which this metal is exclu- 
sively applicable, it has never been legitimately 
employed ; for instance, it has of late years been 
found desirable on account of its cheapness, dura- 
bility, non-combustion, Ac., to introduce this sta- 
ple commodity of our country somewhat exten- 


sively into works of architecture ; but hitherto such 
introductions have, almost invariably, been in dis- 
guise : it has been merely used as a convenient 
substitute for stone, &c. ; and although most suc- 
cessful works of Art have been produced in 
bronze, silver, Ac., these are at all times recognised 
as appertaining to the art of sculpture. In not a 
single instance, either ancient or modern, will it be 
found that the designs of such works exhibit the 
various characteristics or capabilities of their ma- 
terial, sufficiently to bring them under the denomi- 
nation of works of metallurgy, as a distinct branch 
of the Fine Arts. 

There remains, therefore, to be created, or per- 
haps it may be only to be introduced and worthily 
patronised , a style of Art, exclusively applicable 
to the peculiar properties of metals; and when 
this is achieved, an impetus will not only be given 
to these important branches of national industry 
and commerce, but the art of metallic design, 
instead of being as heretofore regarded merely as 
a mechanical attainment, will become a distinct 
and important branch of the Fine Arts ; which, 
being; no longer limited to painting, sculpture, and 
architecture, will have their boundaries enlarged 
by the addition of that of metallurgy — equally 
as distinct from either qf those branches qf Art 
as they are from each other . 

It is much to be regretted, that we have not ex- 
tant any important examples of Grecian metallic 
art, as from the description given by Homer of 
the shield of Achilles, it may be inferred, that not 
only the art of sculpture was exhibited in that 
work, but that by the judicious use of several 
metals, and the various methods of working and 
finishing them, a combination of the effects of the 
art of painting also was produced, which the mo- 
derns, especially in this country, have hitherto 
failed to imitate. This, however, is the utmost 
that can be attributed to the Greeks ; and indeed 
the description referred to affords no proof that 
these methods were practised as a Fine Art. It is 
possible that the work in question might, in this 
respect, have exhibited no more than a mechanical 
imitation of nature : but, even allowing that the 
combination of these two branches of Art was by 
them attained , we have no evidence that the Greeks 
did more than this. The introduction of the prin- 
ciples of architecture into metallic design, inde- 
dendent of its abstract imitation, appears to have 
been alike unthought of, both by ancients and 
moderns ; and how far the combination of the 
principles of the respective arts of architecture, 
sculpture, and painting, is attainable in this dis- 
tinct, and, in result, independent art of metallurgy, 
remains with our national genius to exhibit, and 
our national patriotism to encourage. 

This combination of the principles of the three 
branches of Art, must particularly be understood 
as refering to the general application of the laws, by 
which those branches are governed, not the actual 
imitation of any of their respective productions, 
those of architecture and painting more especially. 
No artist would be justified in affirming that his 
productions occupied this newly-discovered field, 
or that he enlarged the boundaries of the Fine 
Arts, unless he embodies and gives a new direction 
to principles, the seeds of which exist in nature, 
and frames his works upon laws, which have 
hiterto remained undiscovered, or in his case are 
newly and peculiarly applied. If his productions 
are but the prototypes of any previously existing, 
and are amendable only to known and established 
rules, he but leaves the Arts where he finds them : 
but while an artist of truly inventive and original 
genius is allowed to be a law unto himself, 
such laws must be an elucidation of those recog- 
nised, and fundamental principles, or elements, 
whose prototypes exist in nature, and in which the 
experience of ages has proved that true excellence 
can alone reside. 

And in the last place, in reference to that most 
difficult and important point to arrive at, in relation 
to all works of genius, viz., the finding a just and 
competent tribunal , to which to refer them, it must 
be remarked, that high Art is of that subtle and 
metaphysical character, that it requires not only 
a peculiar quality of mind, but a long course of 
study and observation, combined with a deep 
knowledge of the pure elements of classic Art, 
to enable an individual to arrive at a correct con- 
clusion, in reference to any of its productions, even 
in those works in the department of which examples 
of excellence (founded on the consent of ages) 


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THE ART-UNION. 


[Oct., 


exist, by which they may be tested. But 
in the case of all works of a creative and 
original character, the difficulty is doubly 
increased. Here indeed it may empha- 
tically be asked, where is a competent 
tribunal to be found?— and it will, per- 
haps, be replied, in public opinion. In 
the introduction of such works, the moral, 
commercial, and manufacturing inte- 
rests of the country, are deeply involved ; 
and yet the pursuits of the vast majority 
of the community are directly opposed 
to those which are necessary to constitute 
an individual an amateur of Art. In our 
highly commercial nation we have to deal 
with the physical and actual, with things 
that can be weighed, and measured, and 
numbered ; whereas the very reverse is 
the process by which high Art is achieved, 
and, consequently, the reverse by which 
it can be truly estimated. 

Thus it is, that the eye of taste and 
cultivated imagination, with a subtle ap- 
prehension, not only of the proportions 
of the Grecian architecture, but a sus- 
ceptibility of feeling for the poetry and 
sentiment expressed in innumerable in- 
stances, throughout the whole range of 
classic Art, will not fail to possess the 
requisites for the due estimation of the 
character of artistic designs. To such 
individuals will the artist be willing to 
submit his works; in the testimony of 
these ought the public in general to con- 
fide; for in the exercise of a judgment, 
unwarped by narrow prejudices, and un- 
alloyed by the spirit of envy and of pri- 
vate interest, such alone are enabled to 
pronounce a just decision upon creative 
artistic merit. 

Yours, &c., 

W. Vobe Pickett. 
Tottenham, Middlesex, Aug. 9th, 1842. 

THE “ CONTRAST” OF COLOURS 
DEPENDENT UPON PHYSICAL 
CAUSES, NOT A MATTER OF 
TASTE. 

It has long been known, especially by the 
female sex, that in articles of dress, paint- 
ings, &c., to produce pleasing contrasts 
requires the admixture or combination of 
some peculiar colours in preference to 
others; and that the indiscriminate mix- 
ture of colours produces unpleasant effects 
to the eye. This principle is by most people 
regarded as a matter of taste; but, if 
closely examined, it can be proved to be 
essentially connected with the phenomena 
of complimentary colours. 

By complimentary are meant any colours 
which, when mixed with others, produce 
white light ; the former are then considered 
as complimentary to the latter. That the 


cases of people whose complexions may 
be dark, tawny, or of a brownish green 
colour (especially ladies), their articles of 
dress should be deep in colour, and some- 
what partaking of their own, as green, 
violet, puce, or deep purple. Those who 
are very fair should wear brilliant colours, 
pale blue, white, pink, yellow, &c. I have 
annexed a table of the complimentary 
colours as obtained by the polarizing ap- 
paratus : — 

White. Black. 

Green (yellowish but Red (lake 
dark). tinge). 


volving body, the colours supposed to be 
complimentary ; and when this wheel is 
put into rapid motion the colour produced 
is white. Complimentary colours are 
readily produced in several ways ; in 
Newton’s rings the transmitted and re- 
flected rays are complimentary to each 
other; also, when polarized light passes 
through any doubly-refracting crystal, on 
turning either the polarizing or analyzing 
plate through a quarter or a circle, the 
colours first produced are complimentary 
to those which appear after tbe change 
of position. The colours thus elicited bear 
the same relation to each other os those 
which are popularly said to contrast well ; 
and thus 1 propose to those who may not 
be possessed of good judgment in this mat- 
ter, to use the above-mentioned means. 
Ladies, in the choice of colours for dress ; 
carpet, shawl, and curtain makers or de- 
signers, paper stainers, &c., will thus ob- 
tain the most striking contrasts and the 
greatest effect. In cases where an un- 
avoidably existing colour may wish to be 
dispensed with, advantage may be taken 
to make use of these means, as in the 


dark). tinge). 

Light blue. Brownish orange. 

Indigo blue (deep). Pale yellow. 

Deep purple. Pale yellowish-red. 

Pale yellow. Deep blue. 

Violet. Pale yellow (greenish 

tinge). 

The question of the cause of the plea- 
surable sensations excited in die mind by 
the peculiar combinations of colour can- 
not be entered upon here, being a ques- 
tion more in physiology than optics ; but 
a concluding remark or two may not be 
out of place. It is well known that if the 
eye be exposed to a strong-coloured light, 
and then closed, the colour complimentary 
to the one first nerceived now occupies its 
place ; the one nere produced is denomi- 
nated “ accidental,” and is described in 
works on “ Optics” under that head. 
Now, it appears most probable, that if an 
accidental colour be thus produced, and 
under favourable circumstances be dis- 
tinctly visible, when a fainter colour is 
presented to the eye, a correspondingly 
faint accidental colour must be produced, 
although it may be overpowered by the 
first ; and thus, by its mixture (in the 
case of badly-contrasting colours) with 
those, either not of the same tint or not 
complimentary, may produce the unplea- 
sant admixture which is familiar to every 
one. J.W.G., M.D., F.L.S., &c. 

August 8, 1842. 

VEHICLES. 

SiR { — I must beg your pardon for 
troubling you on the interminable sub- 
ject of ” Vehicles.” In common with 
many of your readers, I confess that I 
have tried all the nostrums that have 
been recommended, having been seduced 
from the old Magylp by the parade which 
was made of the Borax ana Silica me- 
diums. 

The Drying Oil , Mastic Varnish , and 
Magylp , prepared by the colourmen, are 
notoriously bad ; I am, therefore, certain 
that many artists, in common with myself, 
will feel truly grateful if some fortunate 
individual who has these costly secrets 
will kindly communicate receipts for 
making the following : — 

1. Drying Oil— To be a strong dryer, 
and yet as colourless as possible. 

2. Mastic Varnish — To be rich and 
colourless. 

3. Magylp. — To be what none of that 
vou buy from the colourmen is, viz. — 1st. 
Not homy and tough; 2nd. That it be 
well amalgamated , so that the two prin- 
ciples of oil and mastic do not subse- 
quently separate; and 3dly. That it be 
smooth ana flowing. 

If some of your artist readers will tell 
us how they manufacture their drying oil 
and mastic, to make this much needed 
Magylp, they will confer no trifling 
benefit on some of their brothers of the 
brush ; but let us have exact receipts, 
and not “ a little of that and a small por- 
tion of this .” One piece of advice I 
would venture to give to my young artist 
friends ; and that is, not to heed one iota 
about the new nostrums. I have wasted 
more time and spoiled more pictures there- 
with than I can well afford. 

Yours, &c., 

Mahl-Stick. 

Glasgow, 10th Sept., 1842. 


TO BLEACH AND PURIFY LINSEED OIL. 

Sir, — Every artist knows the value of a pale, limpid, quick- 
drying, pure Linseed Oil. There are a mat many modes of bleach- 
ing and purifying that useful vehicle, but the one I am about to 
describe I have found the best. Obtain a stout glass vessel, of 
any size, but one that will hold two quarts I prefer ; get a hole 
drilled at the side, about midway, into which introduce a small 
spout for the purpose of drawing off the oil when sufficiently 
bleached and required for use. Into this vessel put nearly a 
quart of water, and add a quart of oil ; shake the whole well 
together; do not cork, but tie it over with a piece of coarse 
linen cloth that will allow evaporation, and yet prevent the ad- 
mission of particles of dirt or dust. Place this on the house- 
top, or any other place most exposed to the sun and light, secure 
from the effects of wind, &c., by a stay of copper wire, as indi- 
cated in the diagram : in three or six months much of the colour- 
ing matter will be extracted by the light, and if it remains a 
sufficient time, it will become nearly as pale as water. I have 
practiced this mode for many years, ana thinking it might be 
useful to many artists not previously acquainted with it, I respect- 
fully offer it tor their adoption. 

Yours, &c. R. D. Tongue. 

The appended sketch will best explain my purpose. 



u RHYMES ON ART”-ISTS. 

Sir,— S eeing that these are dull times for the Arts,— their Parliament 
having been, as it were, prorogued,— and believing that your ingenuity 
must be somewhat taxed lo fill your paper, perhaps you will give inser- 
tion to these rambling rhymes. Yours, &c., S. C. H. 

Who says that the Arts do not flourish ? Let’s see 
What to have and to hold, as their own, they possess? 

Though the Arts, like the nation, are ruled by a Shee ! 

Under petticoat government long may they be 1 
May thy shadow. Sir P. R. A., never grow less 1 

But your Body grow greatly too large for the den, 

Into which they nave squeezed your Peers— thirty and ten ! 

Ask what their estates are - in tail or in fee ? 

Only think of the Hills, Groves, and Meadows they yield; 

Why, they’ve two noble rivers— a Severn and Lee— 

Sundr /Woods, and a Forrest, a Lane, and a Field I 
They’ve Wells and a Poole ; Bridges, Rhodes, on their land 
A Warren, a Parke, and some capital Cole: 

A lake— that’s an Kastlake— pure, graceful, and grand ! 

A Shephkard and Landseers to watch o’er the whole! 

If the Arts have no marble, they’ve certainly Stone — 

Nay, aSTONEHOusB— Wards, Kitchen, a Room, and a Hall; 
And a Town— with a Townsend, of course— is their own, 

And a Bell and a Porter to answer a call. 

Of artisans,— “ Painters and Glaziers,” they’ve more 
Than they wot of; a Miller, a Taylor, a Dyer, 

Two Coopers, two Carpenters, Smiths half a score; 

One Turner,— mem., fortune made, going to retire. 

See what titles to church and to state they can bring ! 

They’ve an Abbot, a Deacon, a Deane, and a Priest; 

They’ve a Sa roe ant, an Earle, they have Dukes, and a Kino, 
They’ve a Baily, a Marshall, and one Knight at least. 

They own Derby and Lancaster, Richmond and Ross,— 

Bare of trees, to be sure— and at this the muse grieves : 

They have but a Thorne, Birch, and Pynb, and some Moss ; 

But one S.Prout, that may furnish a forest of leaves. 

They’ve no deer, but one Buck ; they’ve no horse, but one Mair ; 

They've no bull, but one Bullock ; no goat, but a Kidd ; 

They've one Ego, yet no hens, but of Cox they’ve a pair; 

They’ve a Lover, a Hayter, a Smirks, and a Lear. 

Of birds they have plenty— a Martin, a Dawe, 

A Parrott, a Pigeon, a Swipt, and a Crane; 

An Archer, a Fowler— a Faulkner to awe 
The Partridge transferred to a Court from the plain ! 

Their numerous progeny talk without noise, 

Yet they sell them, or hang them, and never seem sad; 

If they have but one Childe, they have certainly Boys, 

Thomsons, Richardsons, Jacksons, yet only one Dadd. 

They have Aylinq, Payne, Physick, and yet a good Hart, 

Their Knell may be heard, but it cannot annoy ; 


They’ve their Graves, it is true, yet they still keep their Joy. 


Digitized by Vji( 




1842 , 


THE ART-UNION 


239 


THE WORKS OF WILKIE. 

Like the first edition of a Poet’s 44 Remains,” 
may be considered those exhibitions at the British 
Institution, which present to us the works of a 
deceased artist. Thus has a due and grateful hom- 


age been formerly rendered to Reynolds, Lawrence, 
Hilton ; and thus, at the present moment, a simi- 
lar compliment to the genius of the Lamented 
W r ilkie offers to the thousands who admire his 
productions an opportunity of the most solid 
mental gratification. 

In these exhibitions we become witnesses, by a 
coup-d'(£il t of the principal labours of the painter ; 
Ins intellect from youth to age appears to be ex- 
panded before us. Step by step we accompany 
him in his efforts, from the vigorous burst or timid 
trial — as the case may be — of inceptive genius, to 
the finished product of its maturity ; with what 
interest one is enabled to mark the methods of 
44 going to work the pen and ink sketch, the 
careful register of a thought , the rapid brush of 
an effect; and then to discover the varieties in 
handling, from the dry stipple to the richest free- 
dom ana luxury of colouring. In truth, it is on 
these occasions that the painter encounters an 
ordeal, trying indeed to him, but most gratifying 
to his brethren and to the public — that of being 
compared with himself ! Nemo mortalium omnibus 
horis sapit ; according to Father Prout, 44 Every 
man is a fool sometimes and thus the slips of a 
man of genius, like those exceptions which prove 
the rule, tend to demarcate with more certainty 
the true path which led to ultimate and permanent 
success. If the process of wear and tear, of 
removal and reparation, cause at least a septennial 
change in all the component particles of the body, 
it is no less true that the structure of the mind 
undergoes changes as constant and more palpa- 
ble. Hence, in a painter arise his variety of 
“ styles.” Not only does he himself, at different 
periods of life, see things through different me- 
dia, but he is likewise desirous of adapting to 
altered views the means of communicating nis ideas 
to others. Though these changes be not unfre- 
quently changes for the worse, the contemplation 
of them is pregnant with interest. We pursue 
them as travellers follow the mazy windings of 
some Robin Goodfellow , “ through bog, over 
brier;” lost in equal amazement, at last, as to the 
place where we missed the true fire that at first 
illumined our way. With some such feeling the 
public, at the Academy exhibitions, have been for 
some years regarding Sir David Wilkie’s produc- 
tions. It seemed a heresy to complain of, and yet 
no one seemed to retain a true faith in, the ema- 
nations from his studio. He appeared scarcely to 
be the same Wilkie around whose early paintings, 
if report be correct, the careful railing was neces- 
sary to ward off the press of the anxious crowd. 
The prestige of the name was little borne out by 
works in which that original love of character and 
truth of imitation had become lost in masses of 
asphaltum and a flood of magylp ; while his large 
paintings — such as the ‘ Josephine,’ the ‘ O’Con- 
nell,' the 4 Sir David Baird,’ 4 Nnnn^rm.’ 


Napoleon,’ 


though, doubtless, pictures of merit fas how could 
it well be otherwise) — still seemed ratner magnified 
exemplifications of his peculiar falseness of style, 
and of his inadequacy to meet, on those extended 
surfaces, the expectations which the public had 
been taught to form from the crowded excellences of 
his smaller works. Many who had contracted this 
opinion of Wilkie, and have now visited the col- 
lected works exposed at the gallery in Pall Mall, 
have come away delighted beyond measure with 
the extent of his genius. In both of these feelings 
we confess ourselves to have cordially acquiesced ; 
and many of the hot days have we whiled away 
in examining these interesting relics of a deep- 
thinking sagacious mind. Let those who would 
give the foreigner an insight into English Art — 
the growth of our own country-conduct him to 
the British Institution ; and there, if he have a 
feeling for kindred humanity, if his soul be not 
all-absorbed in speculations of 44 high Art” and 
44 loftiness of design,” he will be delighted with 
those pure and noble works — the 44 Monumentum 
sere perennius,” on which Wilkie has recorded his 
name. What is the secret of this undoubted suc- 
cess ? What is it that he so possessed in common 
with the distinguished men who have made the 
canvass a vehicle to carry down their fame to a 
remote posterity ? It was not his method of art, 


for that he learned from the Dutch, and others have 
equalled it without securing a tithe of his renown : 
it was the tale that he had to tell. His destiny 
was to send out such forcible delineations of human 
life in various phases, as the circumstances of our 
own day could enable us to seize upon and appro- 
priate with an instant sympathy, while they have 
so much of common human nature that they appeal 
to the feelings of every age and of all climes. 
Others had observed, and some had recorded, the 
same facts ; but when Wilkie placed them in the 
focus of his imagination, and rendered them to the 
public by the force of his acute intellect, and 
with all the charm of his art, they became familiar 
and oft-recurring images, with an enduring influ- 
ence on the moral perceptions of the public. 

4 Distraining for Rent,’ and the 4 Rabbit on the 
Wall,’ are perfect extracts from the joys and sor- 
rows of yeoman life. The deepest pathos moves 
in one, nappy quiet delight in the other. Like 
Dickens, he conducts us to the dwellings of the 
poor ; and in looking at the 4 Rent Day/ 4 Guess 
my Name/ the 4 Penny Wedding/ and others of 
the same nature, we are led to sympathize in the 
kindest feeling for 

44 Their homely joys and destiny obscure.” 

It is this merit of affecting the better por- 
tion of human sentiments that elevates Wilkie, 
and for which he will obtain his reward. From 
grief to joy— the ends of the scale— he traversed 
the intermediate passages with equal felicity. 
Learned as he was in, and fond as he was of, the 
materiel of his art, he never forgot that art’s 
highest aim is to be the vehicle of influential ideas ; 
he never lost sight of the poetry of painting ; and 
although that poetry was sometimes only of a lowly 
or a didactic species, it was invariably the best of 
its class. 

OBITUARY. 

THOMAS FEARNLEY. 

A sketch of the life of this artist may not be 
uninteresting to our readers— we quote a Norwe- 
gian account, merely omitting one or two circum- 
stances, which we believe to be incorrectly stated. 
44 Norway can ill afford to lose one of the few 
artists who are her glory and her pride. The list 
is easily reckoned— Dahl, Ole Bull, Feamley; and 
hereafter we trust to add the name of Tidemand. 
In so small a circle a blank is soon perceived. The 
germ of all these talents was nurtured and strength- 
ened in childhood by the power of rude Norwegian 
nature, and through all their after developments 
the stamp remained essentially Norwegian. But 
Norway would not mature them into excellence, 
for that, they bent their steps to the south ; there 
they struggled for their true place, and there in 
their creations they honoured their native land. 
From the south they returned again to the north ; 
and it is only necessary to remember what Chris- 
tiana was twenty years ago, in regard to compre- 
hension and feeling for Art, and to compare that 
with what she now is, to be aware what Dahl and 
Fearnley have done for our advancement in this 
respect. A link of this chain is broken, and far 
from his fatherland, in the prime of his years, 
Fearnley is dead. The news of his death was re- 
ceived with deep and general sorrow, and the sense 
of his worth seemed, if possible, more strongly ex- 
pressed than ever. We believe that a brief notice 
of his life will not be unwelcome to our readers. 

44 Thomas Fearnley was born on the 27th of De- 
cember, 1802, at Frederickshall, where his grand- 
father, an Englishman, settled abdut the middle 
of last century. He married the Fraulein Her- 
forth ; and their son Thomas, a merchant like his 
father, married also into a respectable family, and 
his son is the subject of our memoir, Thomas 
Fearnley, the landscape-painter. Till his fifth 
year, he remained in his father’s house : he then 
went to live with an uncle in Christiana ; and to 
this circumstance is probably owing the direction 
of his future life. He received an education prepa- 
ratory for a military life, for which he was in- 
tended ; and was on the point of receiving a com- 
mission, when, in his sixteenth year, he yielded to 
the wish of his uncle to become a merchant. Al- 
ready, however, his taste for Art had in some 
degree shown itself. He excelled so much in 
drawing at the military school, that he was al- 
lowed to receive private lessons in drawing besides 
his studies there. A quarrel with one of the 


persons in his uncle’s establishment made him 
determine to change his residence; and having 
gained the first prize for drawing at the School of 
Arts, he resolved to follow the profession of a 
painter, and to try his fortune at Copenhagen. 
There he entered the Academy, , and he found 
friends able to appreciate and rejoice in the rapid 
progress he made. He received many proofs of 
kindness from various persons, and was well re- 
ceived in society, when his stay was accidentally 
shortened. The Crown Prince Oscar was at Copen- 
hagen in the course of his travels in 1822. He saw 
the worksof our artist, and ordered a large picture — 

4 A View of Copenhagen.’ This was executed and 
forwarded to itsdestination. On the return of Fearn- 
ley from a pedestrian excursion through the Danish 
islands, he found that no tidings had ever arrived 
in regard to the fate of this picture, and he deter- 
mined to go to Stockholm and make inquiries 
himself. He went ; and favourable circumstances 
induced him to remain from 1823 to 1827. In 
that year it was his intention to have made a long 
journey southwards, but he was detained by illness 
at Copenhagen, and returned once more to Nor- 
way. In November 1828, he set out again on his 
long desired journey, by Hamburgh and Berlin to 
Dresden, where he happily spent the first days of the 
year 1829 with Professor Dahl, whose acquaintance 
he had previously made in Norway. He resided 
in Dresden for eighteen months ; and in the sum- 
mer of 1830 he travelled over Bohemia in company 
with the Danish artists Ruchler and Pesholdt, and 
after remaining some time at Saltzburg, he took 
up his winter quarters at Munich. At this period 
he painted many of his best works. In 1833, accom- 
panied by the Danish medalist Chirstensen, the 
architect Constantine Hanfen, and the preacher 
and bookseller Bindesvoll, he made the tour of 
Lower Italy and Sicily. At Naples he met Ole 
Bull, and with him returned to Rome, and they 
passed together the following winter there. He 
had intended to extend his travels to Greece, but 
family affairs, consequent on the death of his 
father, obliged him to turn his steps northwards. 
He went by Florence, Carrara, and Milan, to 
Switzerland, where he made many diligent studies. 
He loved singular and difficult subjects — thus he 
painted the Blue Grotto of Capri with all its 
peculiarities, and he now passed a whole fort- 
night in studying the Glacier of Grindewald. 
The result of this was a large picture so true to 
nature, that it makes you shiver with cold to look 
at it. It became a favourite subject with him, and 
he repeated it several times. From Switzerland 
he went to Paris, and from thence to Brussels, 
Antwerp, and Rotterdam ; he also paid a short visit 
to London, and on the 12th of June, 1836, arrived 
in his native country after an absence of eight 
years. The autumn of the same year he a^ain 
left Norway for England, where, visiting various 
parts of the country during the summer, and passing 
two winters in London, he remained a year and 
a half. He returned to Norway and made a tour in 
Spitsbergen ; afterwards another journey through 
Germany to Switzerland, during the summers of 
the two years he remained amongst us, also paint- 
ing many pictures, some purchased by his Majesty, 
others by private individuals in Norway and in 
Holland, and in other parts of Europe. In July 
1840, he married the daughter of Mr. Andersen, a 
merchant, and left his native country for the last 
time in September, to go by sea to Amsterdam. 
Here unhappily his health began to be impaired ; 
he hastened his departure for Munich, where he 
arrived intending to make arrangements for along 
residence ; these were just completed when his 
health continuing to decline, his life closed on the 
16th of January, 1842, in the prime of his days, 
and in the enjoyment of every blessing. His mar- 
riage had proved a happy one ; and he was the father 
of a little boy some months previous to his death, 
while his success in his profession seemed to open 
before him an honourable and prosperous career. 
Norway has no fit schools for the sons of Art, no 
academy for what is beautiful. The pictures of 
Fearnley must be a school for others, where they 
must study with open eyes and earnest feeling. 
They are fresh and bright, while the hand that pro- 
duced them has faded away ; and fresh and bright 
shall his remembrance remain among the Norwe- 
gian people, though we shall never see him more.” 

Fearnley was personally known to several of our 
English artists, by whom he was greatly respected, 
ana who are among the mourners for his death. 


Digitized by vjVJUVIA^ 




240 


THE ART-UNION. 


[Oct., 


VARIETIES. 

Thn Royal Commission. — We have little 
to say this month in reference to the subject now, 
and likely to be for some time, of paramount im- 
portance to the artists of Great Britain. We 
shall in our next, however, enter at some length 
into the matter — chiefly in reference to the 
mooted point of Competition ; and endeavour to 
show that in all ages and countries, the great 
masters of the arts of sculpture and painting have 
not considered themselves unworthily employed, 
or looked upon it as derogatory to their stations, in 
competing with the merest professional tyros. 
Meanwhile we may quote the opinion of the 
highest existing authority — the President of the 
Royal Academy. In his 44 Outlines of a Plan for 
the National Encouragement of Historical Paint- 
ing in the United Kingdom/’ originally addressed, 
in 1800, to the Directors of the British Institu- 
tion; and 28 years afterwards — t. e. in 1837 — 
“respectfully submitted to the consideration of 
Lord John Russell/’ then Home Secretary, Sir 
Martin Archer Shee thus deals with the ques- 
tion 

44 There may possibly be painters who have 
no relish for competition, and who would be 
better pleased to see Government dealing out 
large commissions, in which the reward at least 
would be certain, however unskilful or disgrace- 
ful the work. Such persons however, if there 
are such, must not be allowed to discredit their 
more able and honourable brethren, who desire 
no rewards but those which they may be found 
to deserve ; who work for nothing more than 
an opportunity of generous emulation, and are 
willing to adopt, as the motto of their fortune 
and their fame, 

* Palmam qui meruit ferat 1* 

44 It must always be the interest, and I am 
convinced it is the inclination, of eminent 
artists to discourage everything of a mercenary 
or mechanical character in the exercise of an 
art so noble as that which they pursue ; and the 
manner in which the principle of direct compe- 
tition obviously operates to produce this effect, 
forms one of the motives for particularly recom- 
mending it. 

“ It is desirable that the genius of the country 
should have a fair, public, and honourable trial, 
before it can be discredited by an injudicious or 
corrupt choice of those who may be appointed 
to furnish the world with examples of it ; before 
the liberality of some future Pericles shall set 
on foot public works, to be undertaken, perhaps, 
in the spirit of a contract, and executed in the 
spirit of a tradesman.” — pp. 86, 87. 

To these eloquent observations we beg to direct 
the attention of the artists — of such, more espe- 
cially, as would fain persuade themselves that 
they are justified in drawing back from compe- 
tition, either from an unworthy fear of being 
outstripped in the race, or from an idea— equally 
unworthy — that government should 44 deal out 
commissions,” to which a 44 certain reward” should 
be attached, “however unskilful or disgraceful 
the work.” 

We shall, as we have intimated, have much 
more to say upon this subject — and upon various 
other matters appertaining to it. At present, 
however, we must content ourselves with this 
quotation. The opinion thus given was not lightly 
formed ; it was recorded when the accomplished 
President was a young man— struggling for fame 
and fortune ; but it was repeated when both had 
been secured ; when he stood, proudly and ho- 
nourably, at the head of his profession. Twenty- 
eight years had not changed it ; and we have a 
right to assume that in 1842 he thinks as he did 
in 1837. If for above a quarter of a century he 
held these opinions — expressed them and im- 
pressed them — it is not likely that within the 
comparatively small period of five years they 
could have been altered — altered, too, just at 
the moment when the great purpose of his “ Ap- 
peal ” had been attained — “ National Encourage- 
ment of Historical Painting in the United King- 
dom ! ” We make these remarks because ru- 


mour has been busy — “ Rumour painted full of 
tongues.” 

Imported Pictures. — In the Art-Union 
for July 1839, we published a statement of the 
number of pictures imported into Great Britain 
during the years, from 1833 to 1838, both inclu- 
sive. They were received from Italy, Holland, 
Belgium, and Germany; and averaged about 
8000, annually, in number. We have now pro- 
cured an account of the number of pictures im- 
ported into the United Kingdom, and the amount 
of duty paid thereon, during the four years end- 
ing 5th January, 1842. It is as follows : — 



Pictures im- 

Amount of 


ported and 

Duty re- 


entered for 

ceived 


Home use. 

thereon. 


Number. 


Year ended 5th Jan. 1839 . 



1840 . 


3299 

1841 . 

11,920 ... 


1842 . 

13,108 ... 



It will thus be seen that the increase has been 
enormous ; only think of 13,108 “ veritable” 
Titians, Berghems, Rembrandts, &c. &c., being 
put into circulation throughout Great Britain 
within the past year— eight of which are probably 
of value ; but 13,100 of which are, no doubt, 
miserable and trashy copies. It is really wonder- 
ful how and where these things arc disposed of ; 
and it is not a little humiliating to find the evil 
anything but diminishing. To these 13,108 
“ old masters” (for very few of them profess to 
be modern), we must add the number of genuine 
pictures manufactured in this country and sold 
to foolish buyers. We have heard a variety of 
illustrative anecdotes of the modes in which such 
works are produced ; and some “ artists” have 
been named to us who ought to be ashamed of 
lending themselves to such base and scandalous 
impositions. This evil, under the existing law, 
has no remedy; but really the makers of 
forgeries should be known and exposed; the 
profession should cast them out utterly. To 
copy old pictures, knowing they are to be passed 
off’ as genuine, is bad — very bad ; but to make 
copies of modem works for a like purpose is in- 
finitely worse. Yet every day this is done ; and 
there is no sort of punishment either for the 
forger or the vendor. 

Thb Society op British Artists.— A 
considerable augmentation of this body is likely 
to take place before their next annual exhibition ; 
several new members have already joined the 
Society. We cordially hope — and, indeed, have 
some good grounds for expecting — that with an 
addition of numbers there will be an accession of 
strength ; and that, hereafter, good sense, sound 
judgment, and generous principles, will preside 
at their councils. In that case there need be no 
dread of its permanent well-being and complete 
success. If, however, the Society shall continue 
to be misguided and misgoverned by a selfish and 
narrow-minded few, who, resembling the fly on 
the chariot-wheel, persuade themselves that the 
Arts were invented for their benefit, it will be the 
duty of all who take a broader view of the mighty 
subject to encourage the establishment of a so- 
ciety that shall stand, as it were, between the 
Royal Academy and the British Institution, de- 
serving and receiving the cordial co-operation of 
both. We trust, however, that the accessions to 
which we refer will place the Society of British 
Artists on a safer and sounder basis than it has 
hitherto been ; and that hereafter their proceed- 
ings will keep pace with the liberal and enlight- 
ened spirit of the age, elevating and adding 
dignity to the profession, instead of humbling 
and degrading it. 

Art-Unions op Germany. — The project for 
drawing closer the connexion between the lovers 
of Art in this country and in Germany, progresses 
more favourably than our most sanguine hopes 
could have anticipated. Already a very large 
number of subscribers have entered their names 
on the lists of the societies of Dusseldorf, Berlin, 
and Dresden : those lists are rapidly augmenting. 
The experiment has been completely successful ; 


and the result cannot be otherwise than satisfac- 
tory and serviceable to the artists and amateurs 
of the Arts in Great Britain. First, it will in- 
crease the intimacy between the kingdoms, that 
must be pregnant with good to all ; next, it will 
familiarize us with those higher qualities of Art 
in which the Germans are universally admitted to 
excel, and which are perhaps best exhibited by 
their engravings ; and next, it will inevitably lead 
to an acquaintance with the 44 style ” of the Ger- 
man school, by introducing collections of its 
best productions into England. The time is 
auspicious for the attempt; the British artist 
has been at length called upon by the Nation to 
aim at loftier objects than those with which he 
has been, hitherto, generally content; our bene- 
ficial intercourse with Germany is becoming daily 
more frequent and useful ; and we have learned 
to know and appreciate the vast sources of en- 
joyment and information they possess, with the 
most ready means of rendering them available. 
We have examined, at the depot of Mr. Henry 
Hering, 9, Newman-street, the prints that have 
been already issued by the several societies, and 
those that are in progress for the members of 
1842. They are all of them of rare excellence 
and value ; each is fully worth the amount of 
the subscription, setting aside the chances of 
prizes ; there is not one that is not calculated to 
improve the taste and elevate the mind, for the 
selections have been msde exclusively from pic- 
tures not only painted by the best artists, but 
painted with the grand and lofty purpose of con- 
veying a high moral lesson by the Arts. For 
example, the two works — one a line engraving, 
the other a large lithographic print— to be given 
to each subscriber of one pound to the Dresden 
Art-Union — the one illustrates 44 the Power of 
Music,” the other exhibits the famous 44 John 
of Leyden administering Baptism to an adult 
Female at Munster, a.d. 1533.” As we have 
said, great good must follow the introduction 
among us of the works of the master-minds of 
Germany; and sure we are, there are thou- 
sands in this country who only require a know- 
ledge of the advantage within their reach to avail 
themselves of it. 

School op Art. — Under very varied circum- 
stances do artists come forward to court the 
notice of the public. Many are the roads by 
which the hill of fame is scaled ; while a few 
vigorous spirits gain the top, some 44 perish by 
the way,” and the mass stop at a middle station. 
Much depends upon the starting point. There 
can be no doubt that in other countries the 
system of ateliers , or of long and careful instruc- 
tion by the more advanced in the ranks of Art, 
tends most materially to foster a higher amount 
of general excellence in the scientific departments 
of painting. Drawing, perspective, and the prin- 
ciples of composition, it is admitted on all hands, 
are things to be taught ; though intuitive per- 
ception may advance far without instruction, a 
careful process of education will much more 
rapidly and surely eliminate the latent qualities, 
and place the student at an earlier period in 
possession of the accumulated experience of ages. 
Though it be a characteristic of genius to sur- 
mount difficulties, still it is ever a part of the 
general scheme of education to remove these 
difficulties from its path, to facilitate its onward 
progress. Nevertheless, how many are carried 
away by the notion, that genius should be left to 
44 make the giants first,” and 44 then slay them.” 
Many a painter has had, consequently, to lament 
that his early career was not directed by the 
mind of experience when first the strong tendency 
to Art had manifested itself. The professional 
education of artists is, indeed, a matter of con- 
siderable interest. It is most true that no school, 
no master, can make an artist ; “ born a poet, or 
never a poet,” applies in its full force to the 
brethren of the brush and the chisel ; but early 
cultivation may nourish the germs that are after- 
wards to ripen into a fruitful maturity. Tlius it 
was that the greatest painters of antiquity 


Digitized by 



1842 .] 


THE ART-UNION 


m 


laboured early and diligently under the direct I 
superintendence of a “ master.” The examples 
are familiar as are their works — Raffaelle, Titian, 
Tintoretto, Spagnoletto, Murillo, Jordaens, Van- 
dyck, original as are their productions, sought in 
the commencement the learned guidance of 
another. In this manner indeed it would be easy 
to trace, through centuries, the transition of 
knowledge from one celebrated studio to another, 
by the simple educational process of master and 
pupil. The genius which might exist in the latter 
was guided by the science and stimulated by the 
example of the former ; not only was the spark 
excited to a more vivid combustion, but the fuel 
for its support was also supplied. The examples 
of modern France and Germany appear to have 
had little influence, in these respects, upon our 
own country, where, if we are rightly informed, 
this system is generally rejected by the foremost 
of our painters ; though when adopted, as by 
Lawrence and Haydon, the pupils have reflected 
renown on their instructors. Entertaining these 
views, it is with much pleasure that we point 
attention to the School of Art , in Charlotte- 
street, Bloomsbury, a prospectus of which, under 
a new management, has just been forwarded to 
us. This school, it will be remembered by many 
of our readers, was till lately under the admirable 
guidance of Mr. Sass, in whose hands it obtained 
an extended reputation, as affording a valuable 
introduction to the Royal Academy as well as 
the most efficient plan of study to those who did 
not design to enter upon the profession of Art. 
Among the artists, however, it has numbered in 
the ranks of its scholars some of the most dis- 
tinguished and rising. This establishment, 
“ possessing every requisite as a probationary 
school for the Royal Academy, is now conducted 
on the same principles as heretofore, by Mr. F. 
S. Cary, with the aid of Mr. Redgrave, A.R.A., 
who is engaged as visitor.” Having recently 
visited the studios, we were much pleased with 
their lofty proportions, good light, and general 
adaptation to the purposes of study. Admirable 
casts from the antique, drawings, works on Art, 
and prints, make up a collection from which the 
most valuable information may be gleaned, and 
the instruction embraces the principles and prac- 
tice of Art in its many branches. Of Mr. Red- 
grave, we may remark, that to the genius which 
manifests itself in the happy sentiment, invention, 
and careful finish of his paintings, he superadds 
long-tried excellence as an instructor. Mr. 
Cary is fortunate, therefore, in having secured his 
assistance as Visitor. With regard to Mr. Cary 
himself, his character as a gentleman and an artist 
of considerable talent gives every assurance of 
his ability to wield such an educational instru- 
ment with success. The requisites for directing 
such an institution are many : artistic excellence 
alone will not suffice ; the faculty of conveying 
knowledge is demanded, and it should be 
seconded by urbanity of manner, and a quick 
perception of the characters of those whose 
studies are to be directed. With such advan- 
tages of management and of means, therefore, 
we anticipate for Mr. Cary a career of considerable 
success ; and, deeming the school one of public 
interest, have seized the earliest opportunity of 
transferring these impressions to our pages. 

The Art-Union Exhibition.— Upwards 
of one hundred thousand persons have visited 
the rooms in Suffolk-street, to examine the ex- 
hibition of prizes selected by the Art- Union 
Society, during the few weeks it has remained 
open, and we understand without any injury 
having been sustained by the pictures. This is 
very gratifying intelligence, and will go far to 
remove all objection to admitting the public 
generally to public depositories of works of art. 
The rooms were lent gratuitously by the Society 
; of British Artists ; but a sum of money will no 
doubt, as last year, be granted to that body as 
some small recompense for “ wear and tear.” A 
correspondent complains strongly of the difficulty 
of examining the pictures in consequence of 


‘‘the crowd”;— we should willingly bear the 
evil for the sake of the good. 

Models in Clay. — We have been much 
gratified by a visit to the studio of Signor San 
Giovanni, in Wardour-street — an Italian artist, 
who has been for some years a resident in Eng- 
land ; and who, like many of his countrymen, 
was compelled by political changes to abandon 
fame and fortune in his own country, and to 
depend for honourable maintenance upon the 
pursuits he had previously adopted for amuse- 
ment and enjoyment. Foreigners, however, will 
live where an Englishman would starve ; it is to 
the honour of this gentleman that he is not 
ashamed to ask Genius for bread. His models in 
clay are very beautiful specimens of Art ; drawn 
with an accuracy which few achieve ; and ren- 
dered with a degree of poetry that greatly en- 
hances their value. He teaches the art ; and the 
student will at once perceive from his examples 
that he is a competent and accomplished teacher. 
There are many — ladies particularly — who may 
thank us for thus directing attention to his skill, 
taste, and knowledge ; for many who will not 
venture to cope with the difficult art of sculpture, 
can easily master the comparatively facile art of 
modelling. Signor Giovanni’s specimens con- 
sist of groups and figures, the majority of them 
being Greeks and bandits, selected, perhaps, be- 
cause of their picturesque costumes: they are 
amazingly true. But his copies of dogs are cer- 
tainly the most masterly we have ever seen : the 
collection embraces every variety, from the small 
greyhound of Italy to the noble animal of New- 
foundland. There are hundreds who strive to 
obtain portraits of such “ pets.” Of the higher 
“ animal,” man, he also models “ likenesses,” 
singularly accurate and faithful. We hope our 
brief note of introduction may procure some 
visitors to the studio of a most able artist, whose 
reverse of fortune is not of his own creating. 

The Ciiiragon. — W e have seen a simple little 
instrument called the chiragon, enabling the blind 
and tremulous to write straightly and steadily — 
it is invented by a Mr. Stidolph of Kensington — 
and cannot fail to be of value, especially to those 
who are afflicted with loss of sight; even to 
artists, who are subject to the sad evil of tremu- 
lous hands, the invention may be a most service- 
able acquisition. Its advantage consists in its 
remarkable simplicity : our readers must take our 
opinion on trust, for it is impossible to describe it 
in words. The hand is guided so that straight 
lines and equal distances shall be at all times 
secured. Mr. Stidolph well deserves the thanks 
of thousands for this addition to the enjoyments 
of those whose sources of pleasure are sadly 
abridged. 

Sales op the Month. — Mr. Acraman op 
Bristol —The collection of this distinguished con- 
noisseur has been recently sold by public auction. Our 
readers are no doubt generally aware that the failure 
of his great iron factory, in Bristol, rendered this step 
necessary : from misfortunes in commerce the meri- 
torious are no more exempt than the undeserving; the 
man of taste is, to say the least, as liable to them as 
the mere slave of gain. It is a consolation to this 
excellent and estimable gentleman, that he retains the 
respect as well as the sympathy of all who know him ; 
and there are few without the hope that he will yet 
live to see replaced the collection, or one equal to it, 
he bad gathered with so much judgment, and upon 
which it is not too much to say his affections were 

laced. Some years have passed since we visited his 

ouse in Bristol, and enjoyed one of the rarest treats 
ever submitted to us. We rejoice at an opportunity of 
bearing testimony to the kindness, courtesy, and 
liberality of its owner. We copy some remarks on the 
sale, and a list of the principal pictures sold, from the 
columns of the Tiwtes : 

“ The collections of pictures might, indeed, with 
propriety have been designated as princely ; it had 
been made not only at a vast expense, but with rare 
taste and judgment, and a painful interest was excited, 
even in the stranger, by its utter dispersion. Indeed, 
an instinctive sympathy would seem to impress upon 
the most heedless, that there can be few worldly losses 
more trying than that of parting with a long-cherished 
collection of the highest objects of Art Mere property, 
lands, messuages, and tenements, may be speedily 
replaced by money power ; but a mass of intellectual 
riches like the present— the work of a lifetime to bring 
together— when once scattered abroad, can never again 


fill their accustomed places. To those who have long 
been familiar with choice paintings— who have, by 
frequent examination, become thoroughly acquainted 
witn their rare, and varied, and less obtrusive beauties— 
who, in a word, have appreciated the high talent and 
lofty genius enshrined on the canvass, and have 
formed, as it were, attachments to particular Claudes, 
Titians, Salvator Rosas, and Carlo Dolces— it must be 
a severe test— a terrible uprooting of the lares and 
penates — to resign such treasured friends for ever to 
the charge of strangers. The collection contained 
some noble specimens of the renowned Italian artists, 
and was particularly rich (though lacking Rembrandts) 
in Dutch and Flemish subjects. There was, we 
believe, only one Claude, a delicious landscape, steeped 
in quietude, with a ‘ Holy Family ' reposing in the 
foreground ; and but one, and by no means a character- 
istic specimen (‘ St. Francis *) of the great Spanish 
master, Murillo, an artist more at home in dealing 
with peasants and roguish vagabonds than with saints. 
It is not our purpose to be guilty of offering what might 
at this time of day be almost termed the impertinence 
of criticism on the works of men, who, like the heroes 
of Ossian, have long ago ‘received their fame,’ and 
expressions of admiration may be deemed equally 
superfluous ; nevertheless, it is a labour of love to 
mention, in passing, a few of the pictures, though 
without reference to their money value. Amongst 
the richest gems we would place the ‘Ecce Homo’ 
and a 4 Head of the Virgin,’ both by Carlo Dolce. 
The depth of suffering and resignation of the one 
countenance, and the grace, sweetness, and tranquillity 
of the other, with the air of spirituality imparted to 
both, combined with the chastest colouring and most 
exquisite finish, riveted the attention of the specta- 
tor, and fixed these subjects on the memory long after 
the gaze had been transferred to other objects. The 
former picture was from the cabinet of the deceased 
French Premier, Cassimer Perrier, and the latter from 
that of Lord Arundel, of Wardour. It would far 
exceed our limits to dwell upon the varied beauties of 
other Scriptural pieces, by Luini, Albano, C. Maratti, 
N. Poussin, Doraenichino, Guido (a delightful picture, 
the 4 Magdalen in Adoration ’), Parmegiano, Dietrich 
(a splendid 4 Descent from the Cross’), &c. Con- 
spicuous amongst the moderns was Westall’s brilliant 
piece, 4 Psyche discovering Cupid Sleeping :’ and, 
scarcely less so, Muller’s two admirable works, 4 A 
Frozen River,’ and 4 The Hoar Frost ;’ paintings 
which will go far to create for the artist a name which 
the world ‘will not willingly let die;* Rippingille’s 
‘Recruiting Sergeant* — of itself a study for an 
afternoon, abounding as it does in character and 
episodes of humble life, as spiritedly and distinctly 

( ilaced before the spectator as if accompanied by 
etter-press descriptions by 4 Boz.* There was alto 
a charming 4 View of the Wye and Severn,’ by Johnson. 
The following is a list of the prices obtained for some 
of the first-rate lots 4 Travellers on a Road, near a 
Castle,’ De Heusch, 52 guineas; 4 The Piazza of St. 
Mark,’ Canaletti, 63 guineas; 4 An Interior,’ Zorgh, 
81 guineas; 4 A Calm, with Vessels,* Van de Velde, 53 

J uineas; ‘A Seaport,* Lingelback, 61 guineas; ‘The 
udgment of Solomon,* W. Mieris, 103 guineas ; 4 A 
Man-of-War and other Vessels,’ Backhuyscn, 139 
guineas; ‘The Dentist,’ Teniers, 330 guineas; ‘The 
Ferry-boat,’ J. and A. Both, 410 guineas; 4 Kcce 
Homo,* C. Dolce, 140 guineas ; 4 A Vase with Flowers,* 
Van Os, 60 guineas ; 4 A Town on a River— Moonlight,* 
Van der Neer, 50 guineas: ‘The Gipsy Tinker,’ 
Weenix, 50 guineas : 4 A Shipwreck,* Vernet, 83 
guineas ; 4 A Calm,’ Vernet, 53 guineas; 4 The Con- 
fectioner’s Shop,’ Schalken, 81 guineas; 4 A Wood 
Scene,’ Der Heyden and Van de Velde, 97 guineas; 
‘The Descent from the Cross,’ Dietrich, 100 guineas; 
4 La Belle Dormeuse,’ Metzu, 200 guineas ; 4 The Virgin 
and Child,’ Vandyck, 56 guineas; ‘The Deserted Gar- 
den,’ James Johnson, 53 guineas; 4 A Woody Land- 
scape,’ .Moucberon and Van de Velde, 544 guineas; 4 A 
Hunting Party attacking Deer,’ Ruysdael and Wouver- 
mans, 62 guineas ; 4 An Interior,’ V. Harp, 52 guineas; 
4 A Seaport, with Camels, &c.,’ Weenix, 59 guineas; 
4 Pastoral Scene, with Figures,’ Swaneveldt, 50 guineas ; 
‘The Recruiting Sergeant,’ Rippingille, 111 guineas: 
‘Cavaliers Halting at an lun-door,’ J. Ostade, 86 
guineas; 4 Head or the Virgin,’ C. Dolce, 73 guineas; 
4 The Trumpeter,’ Ter burgh, 185 guineas : 4 A Group 
assembled at the door of a Cabaret,’ Teniers, 155 

S uineos; 4 Men-of-War snd Fishing-boats in a Gale,* 
ackhuysen, 100 guineas; 4 A Party at a Chateau pre- 
paring for the Chase,’ Wouvermans, 310 guineas; 
4 Muleteers Arriving,’ with, perhaps, one exception, the 
chcfd'amcrc, by Berghem, 1570guineas. This last was 
the choice picture of the collection, and it excited con- 
siderable competition. The purchaser was Mr. Nieu- 
wenhuys, a dealer, from Brussels, who paid for it the 
above large sum. We understand that a person hav- 
ing a commission to a much higher amount was at- 
tending the sale, but happened accidently to be absent 
from the room at the time it was put up. It was, we 
believe, sold by the late Mr. Christie for 4T850. It will 
now, it is said, pass into the possession of the King ot 
the Belgians.* The produce of the first day’s sale 
amounted to ^2396 0s. fid. ; that of the secoud to 
jg2017 18s. ; and that of the third to j£4477 Us. ; making 

a total of jC*8891 9s. 6d. 

* In a few hours after the sale of this picture, an ex- 
press arrived from the Prussian ambassador, to pur- 
chase the Berghem, uuder a limit of *£2500, for the 
King of Prussia. 



242 


THE ART-UNION. 


[Oct., 


REVIEWS. 


Owen’s Etchings. P. and D. Colnaghi & Co. 

To the pre-eminent Qualities of Fine Art that dis- 
tinguish painters’ etchings, the pages of this jour- 
nal have often borne a willing testimony. The 
process of etching on copper affords, indeed, under 
the guidance of an artist’s mind, every facility for 
the expression of his feelings ; whether he desire 
to embody his ideas by simplicity of design, variety 
of execution, or depth of tone and colour, all are 
in this way attainable ; let him eschew “ rules and 
regulations,” and, having made himself, by prac- 
tice and experience, thoroughly aware of the 
means within his disposal, freely adopt the point 
of the needle, the scrub of the mezzotinto tool, the 
brush of the sand-paper, to obey his bidding. The 
wise general is he who best knows how to dispose 
the forces that chance has placed at his com- 
mand ; and it is the remark of the best artists, 
that to the mind, and not to the material, must we 
look for the> finest qualities of Art. Where, how- 
ever, there is considerable choice as to the mtcha- 
nique , we wish to signify how absurd is that rule 
which would bind the painter to make what is 
termed a “legitimate” etching. It was not in 
such a way that the great master, Rembrandt, ap- 
plied himself to the coppers whose products have 
delighted many generations. He appears to have 
looked upon every adjunct that chance or inven- 
tion threw in his way as fair game, only intent 
upon the ultimate realization of the grand idea that 
pervaded his mind. In etching, such as it may 
and ought to be, the manner will necessarily be 
regulated by the animus of the painter ; the per- 
ceptive and imaginative qualities are at once the 
immediate guides of the tool whose agency may 
be employed ; and while superficial observers may 
dwell with delight on regularity of line, neatness of 
execution, clearness of cut, give us the bold 
vigorous stroke, dash, or even jag, of the painter’s 
hand,— that natural touch which obeys the first im- 
pulse of the creative mind, when the work comes, 
like the iron from the forge, glowing with the 
original ardour of its formation. 

Previous numbers of this journal have placed 
before our readers an account of the whole pro- 
cess of a painter’s etching; and multiplied in- 
deed it is before reaching that state in which 
a tolerable satisfaction arises to the mind of the 
conceiver. It is our purpose on another occasion 
to enter into an examination of the etchings of old 
masters, and subsequently to make a rtsumt of 
those by painters of our own day. The object of 
our present remarks is the introduction of 
a volume, recently placed in our hands, of etchings 
which, though executed by neither painter nor en- 
graver, claim from us the credit that might be 
assigned to both. The author is a clergyman, 
whose duties have not interfered with the collec- 
tion of so great a number of original etchings as 
would have graced the leisure of the most unem- 
ployed (though deserving) of our artists ; and yet, 
so allied are the Fiue Arts with every feeling that 
tends to cultivate and refine the soul of man, that 
we at once acquiesce in the belief, that the time 
devoted to these offsprings of a peculiar talent has 
by no means been unprofitably stolen from the 
more stringent and important labours required by 
the flock committed to his charge. 

The etchings contained in this volume — a volume 
of large, but portable size — not only display a 
knowledge of the pratique which is extraordinary, 
but they likewise astonish by their number. Their 
dates, it is true, indicate the continuance of Mr. 
Owen’s exertions through a pretty loug series of 
years, but it is evident from the quantity he has 
brought to maturity, that many may have been 
spoiled ; and thus he proves that to the original 
talent required for the prosecution of Art, he 
| unites that without which no talent can achieve 
great results— assiduity. In buildings and streets 
Mr. Owen’s forte evidently lies. The ruins of old 
places excite him to do his utmost. In them he 
appears to revel with all an antiqnary’s love of 
nnnutijc ; still are the details presented to us with 
all the finished breadth of an artist. Seldom, not 
even in the finished works of Piranesi and Pinelli, 
have we seen greater strength of colour united with 
so admirable a variety of tone. The distances are 
peculiarly exquisite; and we shall, by and by, 
point to specimens which surprise and gratify by 
the admirable management of aerial perspective, j 
In figures, where they form the centre of attrac- 


tion, and consist of the human species, we certainly 
are far from approving of Mr. Owen’s labours. 
Introduced as accessaries to his" landscapes, they 
indicate a choice of position, and disposal of light 
and shade, that would do credit to the most 
finished artist ; but, when they become the princi- 
pal objects, and the picture consists of them alone, 
the faults, the want of careful study and academi- 
cal learning, are peculiarly manifest. The gro- 
tesque usurps the place of humour, and it is the 
grotesque without an aim. These are, however, 
but the erratic steps of Mr. Owen’s genius ; for in 
his cowsheds the figures of herds and herdsmen 
are grouped with the skill, and almost with the 
knowledge of old Ostade himself. ’ Certainly, we 
say, in defiance of disproof, that Mr. Owen’s light 
and shade is almost unexceptionable; there are 
here and there hard lines of dark and of light 
running unpleasantly through an otherwise perfect 
composition ; and, in certain cases, there is an 
evident want of perception of the value of some 
one positively cutting dark and light, to come 
out and strike the eye from the mass of light and 
shade. The prevailing character of these works, 
however, is that of a vivid perception of the 
sombre beauties of chiaro ’scuro ; and no small 
credit is it to Mr. Owen that the more difficult 

E erceptions are those which seem first to have 
een presented to his mind. 

Mr. O. does not appear to work with the dry 
point so much as by means of the absolute etching 
process ; and he has thus obtained all the brilliancy 
which results from the colour of the paper between 
broad and powerful lines. There is another plan 
adopted by him (suggested by a knowledge of 
elfect) which adds not a little to the painter-like 
qualities of the etchings ; the size of the India 
paper on which they are printed is so admirably 
adjusted as to reach no further than the margin of 
the work, thus giving all the advantage acquired by 
the “ mounting” of a water-colour drawing. The 
printing again is most admirable; by whom 
it is executed we know not, but, with the excep- 
tion of the Etching Club’s 4 Deserted Village,’ * 
we have seldom seen a more excellent execu- 
tion of this important portion of a publication. 
Artists desirous of proving their etchings, can- 
not be too anxious on this point; though beauty 
and force lie in the hands of the etchers, the 
printer not only has it in his power to mar their 
best efforts, but his skill, when carefully directed, 
may be made productive of increased effect to the 
painter’s production. So much so, that Rem- 
brandt is said to have worked at a press of his own, 
and thus, in many of that shrewd man’s works, 
we can trace the finest variations in tone and 
colour to the skilful management of the printing. 
The magic processes of 44 wiping out” and 44 leav- 
ing a tone,” the quality of the ink, the scraping of 
the burr— upon these so much depends, that the 
enthusiastic etcher will never communicate his J 
produce to the press, but through his own hands 
or those of a skilful friend. 

Having thus disposed of our case, let us proceed 
to call evidence, and wishing to leave the cause of 
the defence to triumph as it ought, we proceed first 
to mention those etchings against which the 44 still 
small voice” of censure bas been pronounced. 

The first interior, though excellent in somepoints, 
fails entirely from the want of truth. On the right 
hand, the articles of crockery, &c., against the wall 
must be transparent indeed, in order to produce 
such luminous shadows, though situated nearest 
the powerful light. The battles and the cobbler 
subjects, of which there are four or five, are the 
eyesores of the collection ; not excepting, however, 
the two figures 4 Scaramouche and Smutty,' where 
the etcher has been evidently so doubtful of his 
subject, that he has failed even in the etching. We 
confess that these figures, like those in the 4 South 
Transept Door, St. Mary’s,’ are a riddle to us. 
Mr. Owen’s landscapes, streets, and old buildings 
are so admirable, that the introduction of these 
figure-pieces is much to be regretted. In the 4 Tower, 
near Welch Bridge,’ as in some of his best pro- 
ductions, the mass of black deteriorates materially 
from excellence. Perhaps this may be slightly 
remedied in the printing, if all the impressions be 
not as yet struck off. 

Of the etchings that afford a thorough satisfac- 
tion, we will select for mention two or three Ruys- 
dale-looking landscapes : 4 St. Mary’s Font ;’ 4 The 
Abbey, Salop;’ 4 Grey Friars,’ exquisitely wrought 

* Printed by Messrs. Gadd and Kenningale. 


and admirably designed ; the ( Castle Gates,* the 
effect of which is beautiful and full of air ; the 
4 Welch Bridge,’ passim ; and lastly, the 4 Bridge 
of Vardome,’ where the positive black is put in the 
right place, and assists to produce the appearance I 
of atmosphere around. 

Although this work was placed before us 
as that of an amateur — a respected clergyman of 
the Established Church; and although Urns pre- 
sented for the laudable purpose of contributing, 
by its sale, to the benefit oi a charity, it never- 
theless challenges criticism, not alone by its ability 
to meet it, but by exciting the desire to award com- 
mendation to works that afford true gratification. 
Looking at these etchings with the demands arising 
from an intimate acquaintance with the products 
of the etching needle, we feel called upon to sug- 
gest to every collector of works of Art the pleasure 
he may derive from making such a collection his 
own. To Mr. Owen, in parting, we observe that 
he must cherish a feeling of honest pride in having 
accumulated and perfected so many specimens of 
his skill in, and love of. Art, and at having thus 
indelibly registered his name on the rolls of 
artistic celebrity. 

The Gems of Stuart Newton, R. A., with a 
Memoir and Descriptive Notices. Bv Henry 
Murray. Publishers, Longman and Co. 

We give this book a very hearty welcome ; it is a 
just and fitting tribute to the memory of one of 
the best artists of our time. We have here a 
series of engravings from his most popular works, 
collected into one elegant volume ; a volume simi- 
lar in appearance to the larger 44 Annuals,” but 
worth the whole of the season’s trifles put to- 
gether ; for these are really gems of Art — exquisite 
pictures beautifully engraved, and of a size suf- 
ficient to preserve their character and convey a 
fair idea of their merits. Poor Newton ! his fate 
was a sad one. It was our privilege to know him 
in the zenith of his fame ; when those who ad- 
mired him and his paintings little anticipated the 
heavy affliction by which he was destined to be 
visited — 

44 The last extremity of noble minds.” 

He died in an insane asylum. The finest and 
ablest productions of his graceful pencil are here 
gathered, and the collection will delight all who 
can appreciate excellence in the Arts ; his single 
figures are perhaps the most successful : who can 
look upon these three — 4 La Penterosa,’ 4 The De- 
serted,’ and 4 The Forsaken ’ — without being 
moved ? Here is a glorious transcript of the pas- 
sage that describes the dying Lear attended by his 
devoted daughter. Here is a capital work ot an- 
other class — the scene from 44 Gil Bias,” where 
44 the Prince of Spain visits Catalina and here 
again one of another order, the 4 Abbot Boniface.* 
a realization of the famous portrait of Sir Walter 
Scott. Each of the assemblage is interesting and 
valuable as a work of Art, and a rare acquisition 
to the collector. Thus gathered together, they 
form a most attractive volume — 44 got up,” to use 
a technical phrase, with exceeding elegance, very 
splendidly bound, and forming a more desirable 
present than any that 44 the season” can here- 
after produce : at a rate, too, of unusual cheapness, 
for half the number of the prints are fairly worth 
the cost of the whole. Each engraving is accom- 
panied by a couple of pages of judicious and well 
written remarks from the pen of Mr. H. Murray. 

The Trial of Earl Strafford. Painted by 

William Fisk. Engraved by James Scott. 

Published by Thomas Boys. 

The amplitude of Westminster Hall has afforded 
the artist, for the effects of his composition, ad- 
vantages which few other interiors could afford ; 
although it is at once perceptible that to turn such 
to the utmost profit, demands powers of literally 
the highest order. The subject is highly important 
and interesting, and in its treatment here it comes 
forward as a scene pointing to some issue in- 
volving the most senous human interests. The 
foreground of the composition is open, giving im- 
portance to the principal figure, that of Lord Straf- 
ford, who stands upon a platform delivering hia 
memorable speech ; he is pointing to his children, 
and pronouncing the words — 44 My Lords, I have 
now troubled you longer than I should have done 
were it not for the interest of these dear pledges a 
saint in heaven hath left me.” The figure is erect 
and dignified, bespeaking well the character af the 


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1849 .] 


THE ART-UNION 


243 


man. The other figures of the picture amount in 
number to a multitude, wherein we find every 
living cotemporary of Lord Strafford, entitled by 
position to a seat in the court. Near him are 
seated some of the peers, and around stand mem- 
bers of his own family ; he is immediately con- 
fronted by Pym, behind whom are others of his 
persecutors, scarcely less active. 

We can appreciate the labour and perseverance 
of the artist, in surmounting the difficulties which 
must at first have presented themselves tp his 
bringing forward his design in the manner in which 
it has been executed ; and our meaning will be un- 
derstood when we state the fact of fifty-two portraits 
appearing in the composition. In a distant part 
of the Hall is seen the throne, and near it sit 
Charles the First and his Queen ; and near them 
the Prince of Wales, afterwards Charles the Se- 
cond. Among those conducting the trial are 
Cromwell, John Hampden, Selden, and Fairfax ; 
also are present, John Evelyn, Denzil Holies, 
Oliver St. John, and many others more or less 
remarkable in the history of those times. The 
work is highly finished in mezzotint, and will form 
a valuable addition to our collection of historical 
engravings ; notwithstanding that, we may not 
class it as foremost among them. 

Portraits of the Royal Family, and most 
Distinguished Nobles, &c., op Great Bri- 
tain. By S. Diez. Published by A. H. Baily 
and Co., 83, Comhill. 

This work is executed in lithography ; it appears 
in monthly numbers, each containing two portraits ; 
and it is proposed to publish fifteen such numbers. 
Those which have appeared are of her Majesty, 
Prince Albert, the Duchess of Cambridge, the 
Princess Augusta of Cambridge, the Duke of 
Sussex, the Duke of Wellington, Lord Lyndhurst, 
and Lord Hill. The royal and noble personages 
represented may or may not have sat to the artist; 
if thev hive, he has by no means availed him- 
self of the occasion, since the lithographs seem 
rather recollections than attempted identities from 
actual sittings. There is about the whole an un- 
becoming character of length ; so that in fact they 
are emphatically “ long ’’-faces. With respect to 
her Majesty, in the worst portraits of her we have not 
seen so entire a failure : there is a shrewish vetu 
(esse in the features altogether foreign to tnem, 
and to the total exclusion of the benign dignity 
which characterizes the brow of our Sovereign. 
And if the Duke of Wellington be anything like his 
portrait, we must, with Dogberry , say he is ' 4 not 
the man we took him for:” the face is akin to the 
stone on which it has been drawn. The whole of 
these prints are individually distinguished by some 
one or other of the great disqualifications of por- 
traiture. The Princess Augusta of Cambridge is 
represented in a manner vulgar beyond precedent : 
it is curious, but there is in the sentiment a some- 
what reminding us of a portrait of H.R. H. the 
Duke of Cambridge, exhibited, we believe this 
year, on the walls of the Royal Academv, in which 
he was painted in tears. The name of t ) iez is new 
to us — the bearer, we presume, is a rising artist : 
we would that he he had fleshed his maiden pencil 
in material less dear to us than the heads of those 
44 whom we love too well to see belied.” We shall 
recur to this series as it progresses, and aid him 
with our advice. We censure thus lightly from a 
conviction that this painter has mistaken his line 
of Art. 

Miss Jim-ima Crow. Painted by W. Hunt. 
Drawn on stone by T. Fairland. Publishers, 
Graves and Warmesley. 

Full of point, character, and humour — one of the 
most striking examples of the peculiar talent of 
Mr. Hunt. A negro wench is sitting by the fire- 
side, showing her white teeth, and laughing and 
looking as if the cares of the world sat lightly on 
her shoulders. It has been capitally copied by 
Mr. Fairland. 

The Widow. Painted by E. Landseer, R.A. 
Engraved by J. Burnet. Publishers, H. 
Graves, and Co. 

As an example of mezzotinto engraving this work 
Is of rare excellence ; it has been wrought with a 
happy combination of force and delicacy, and at 
once carries conviction of the master hand. The 
subject, however, might have received sufficient 
justice in a space for more limited : a print this 


size — about 2 feet by 18 inches — should contain 
matter in proportion ; and here, after all, we have 
nothing but a bank, a pond, distant mountains, 
and a couple of ducks ; the ducks to be sure are 
Landseer’s ; and they are made to tell a story — the 
widow is lamenting over the body of her dead 
husband; and really a degree of sorrow almost 
human has been expressed in the 44 countenance ” 
of the bereaved. Still the picture is better suited 
for a book illustration than for publication on so 
grand a scale. Unhappily, when the works of an 
artist become popular, publishers imagine that the 
ublic will be contented with any production from 
is pencil ; and as there are at all times a number 
of collectors of engravings after him, any print, no 
matter what it contains may “do” to a certain 
extent. This principle, however, proceeds upon 
hollow ground: it will fall away ere long; the 
public will grow tired of Mr. Landseer, as they 
have wearied of other artists, if he thus presume 
upon the favour he has acquired ; or if the pub- 
lisher — as is more likely— is willing to risk his fame 
by trifling with it. 

The Sketcher’s Guide. By W. F. Elliot. 
Published by S. and J. Fuller, 34, Rathbone- 
place. 

This is an apparatus for drawing landscape in cor- 
rect outline, and perspective without elementary 
knowledge ; and is well adapted to assist ama- 
teurs and tyros in drawing correctly objects 
as affected in their appearances by perspective. 
The invention consists of a framed glass, through 
which the sketcher views the scene he is desirous 
of drawing, and delineates correctly on the glass the 
objects in their respective sizes and positions ; the 
distance of the eye from the glass plane being de- 
termined by a sight-hole. When thus traced, it is 
transferred to the sketch-book, the outlines on the 
glass are obliterated, and he proceeds to another 
view. It is not, however, proposed that the 
draughtsman is to work entirely in the dark with 
respect to perspective — the essential of Art : 
44 The Guide,” is accompanied by a short treatise, 
wherein perspective and effect are familiarly ex- 
plained, and illustrated by a number of vignettes 
sufficiently large to assist the text, of which, By the 
way, we must say, that it is written without pre- 
tension, and sometimes offers as much information 
in one line as may be gathered from a page of some 
laboured treatises. 

The Wanderings of an Artist in Italy. — 
We have been much gratified by the perusal of a 
series of stories published under this general head, 
in 44 Bentley’s Miscellany.” They are from the 
pen of Mr. Rippingille, whose lengthened residence 
amid the less frequented parts of Italy, which he 
describes, has enabled him to picture the wildest 
and most romantic scenes of these districts and 
their inhabitants with a force and spirit which the 
reader feels to be essential truth. They bear the 
fresh impress of the nature of the places and 
people of which they treat ; and these are admira- 
bly adapted in character to each other, being, on 
the one hand, the wildest fastnesses of the land, 
and on the other a fierce and lawless race of men, 
setting at naught, in their acts of blood and violence, 
the nerveless governments under which they lived, 
and scorning all the inborn ties of humanity. We 
have heard occasionally of the Italian banditti 
through the newspaper police reports of foreign 
journals, but never have their habits and manner 
of life been so faithfully described as in these 
papers ; the substance of which is gathered from 
individuals, who themselves have been members 
of thefee dreaded gangs, or from others who have 
lived in connexion with them. The author of these 
papers has, we are glad to hear, received commis- 
sion from H.R.H. the Duchess of Cambridge, and 
also from Lord F. Egerton, to paint from some of the 
most striking incidents he describes ; and there 
are many affording the most remarkable subject- 
matter for the pencil. We agree in the necessity 
of artists seeing all that has been done by the old 
masters, but we cannot concur in the value of the 
ractice of spending years in making copies, as the 
ulk of our painters do. Those who are so far 
moved by nature as to paint it well, could scarcely 
fail to write about it well. We would that artists 
would write more than they do, taking an inde- 
pendent view of all they see about them ; for such 
writings must, more or less, have a professional 


tincture, and would undoubtedly be serviceable. 
We are induced to offer these remarks by the tone of 
Mr. Rippingille’s papers ; he shows himself one of 
our few Sicilian bees who returns to the hive rich 
from the thyme of Hybla. 

Diploma of the Pharmaceutical Society. 
— W r e have seen a fine print (engraved for this So- 
ciety) by Mr. H. C. Shenton, after a drawing by 
H. P. Briggs, Esq., R.A. The engraving is m a 
good bold style, suited to the work, but exhibits 
the burin of a sound master. It is just such a 
production as we desire to see more of— in which 
nothing has been frittered away to produce 
44 niceness, ” although every touch has been 
minutely copied. The print will add to the repu- 
tation of Mr. Shenton. The drawing of Mr. 
Briggs is — as our readers will readily believe — 
admirable. The two supporters are designed with 
a broad and manly effect ; and the flowers, 44 pro- 
fessional,” of course, are beautifully and minutely 
made out. The print is honourable to 44 the So- 
ciety,” and augurs well for their judgment and 
taste. 

Art-Union Medallion.— Mr. Pickersgill’s 
design for the Art- Union Medallion has been en- 
graved on steel, upon a reduced scale ; and the 
plate has been presented to the Society by the en- 
graver, Mr. H. W. Collard. It is very beautifully 
executed, and does credit to his abilities. There 
is great refinement in the touch ; the outlines are 
given with considerable ability; and the back- 
ground is put in without disturbing the harmony 
of the composition. 

TO CORRESPONDENTS. 

Frescoes. — The Kentish Standard contains a long 
and elaborate article, written with no inconsiderable 
ability, in reference to the two frescoes recently painted 
by Mr. Mills, for the Literary and Scientific Institution 
of Gravesend; he is about to undertake two others for 
the same place. The subjects are ‘The Descent of 
Diana to Endymion,* and ‘Aurora Dispersing the 
Clouds of Night.* The writer speaks of them in very 
rapturous terms. We hope to have an opportunity of 
examining them. 

Mr. Britton *s letter was somewhat too late for inser- 
tion in the present number. 

The letter of “ J. II. M.’* in our next. 

A Young Artist. — Cbiaro *scuro means literally 
light and shade. Breadth is a treatment by broad 
masses of light or shadow, unbroken by objects so 
harshly thrown in as to fret the eye. Keeping is the 
general propriety of a composition— a perfect adaptation 
of all its objects and circumstances, and their contri- 
bution to the main effects. Harmony of colour is the 
prevalence of tones which harmonize with each other. 
Air is that particular quality of execution which shows 
objects through an atmosphere: this is commonly 
done by charging the atmosphere slightly with mist. 
This correspondent says, that in looking at pictures 
“ painted on the spot,” he sees nothing like nature, 
except the lights and shadows; in seeing which, he 
sees the main excellence of the work. From the tenor 
of his note, we suspect he is charmed by colour ; he 
will do more by attending to these same lights and 
shades: for these he must consult nature, in doing 
which colour must follow. His friends recommend him 
to study from nature— and we repeat, that her school is 
the only one in which he will profit. 

We have in type reviews of the “ New Law of Copy- 
right,’* “ Ancient and Modern Architecture,** the 
44 Environs of London,” “ Guides to Wicklow and 
Belfast,” the “ Portrait of Priuce Albert,” “ Heraldry of 
Fish,” &c. &c. 


T O GENTLEMEN. ARCHITECTS, and 
Others.— SLOPEit’S CONTINENTAL MARBLE 
PAPER HANGINGS, invented and manufactured only 
by J. SLOPER, No. 106, HIGH-STREET, M VllYLK- 
BONE. — J. S. solicits an inspection of his Continental 
Marble Papers, expressly adapted for halls, staircases, 
&c., being natural imitations of the most beautiful 
foreign marbles, worked in blocks of any dimensions, 
and uilFering in every way from anything hitherto ma- 
nufactured in England, well deserving the attention of 
all connected with good buildings. Good bed-room 
paper, Id. per yard; handsome drawing-room, 8d. ; 
dining and library, 6d. ; best gold moulding, 6d. per 
yard. House painting and decorating 15 per cent, less 
than usually charged. Estimates given. Patterns sent 
to all parts of the country.— Observe, J. Sloper, 106, 
High-street, Mary lebone. 


Digitized by 


244 THE ART-UNION. [Oct., 1S42. 


THE ART-UNIONS OP GERMANY. 

UNDER THE PATRONAGE OF HIS ROYAL HIGHNESS THE DUKE OF SUSSEX, HIS ROYAL HIGHNESS THE DUKE OF 

CAMBRIDGE, AND THE NOBILITY. 


ttndfn, 39tt00iU>otf, antf Drcsirnt. 


The extraordinary popularity and success which have attended the “ Art 
Union Societies” in Great Britain, afford unquestionable evidence of an 
increased taste for and appreciation of the Fine Arts ; and a widely -spreading 
desire, on the part of the public generally, to become better acquainted with 
them in their various and important ramifications. 

This country, however, cannot claim the merit of originating these 
valuable institutions for their promotion. A society having similar objects 
was established at Diisseldorf, so early as January 1829. It was followed by 
establishments, formed for the same great purpose, in Berlin and Dresden, 
under the immediate patronage of the King of Prussia ; and under the pro- 
tection and encouragement of all the Foreign Courts. 

The immensely varied and inexhaustible resources offered by the different 
schools throughout Germany, the Communities of Artists of Berlin, Diissel- 
dorf, Dresden, Frankfort, Munich, and other cities, afford annually a rich 
and endless variety, including productions of genius of that transcendantly 
beautiful character, for which the Schools of Germany are so justly famed. 

That there exists a strong desire in many of the Members of the English 
Society to become associated with those of Germany, is manifested to the 
Councils of the several Unions, by the number of applications that have been 
made for admission to the Subscription Lists ; and to such an extent has this 
feeling evinced itself, thnt the establishment of a direct British Agency has 
at length been determined on. The Councils of the Art- Unions of Germany 
have, at their respective Meetings at Berlin, Diisseldorf, and Dresden, come 
to the resolution to establish in London a direct Agency and Depot for the 
reception of the names of Subscribers, for the exhibition of their works, and 
for the distribution of their prizes ; thus affording to the English Nation an 
opportunity of enjoying all the privileges of their Associations. 

They have therefore to announce that they have completed an arrange- 
ment with Mr. Henry Hering, 9, Newman-street, Ox ford -street, London, 
appoiiltftlg him as their sole Agent and Manager for the United Kingdom, 
For the Reception of Subscribers’ Names, 

For the Issue of Tickets, 

For the Distribution of the Prospectuses and Prizes, 

For the Exhibition of the Engravings which, from the establish- 
ment of their Institution to the present time, have been selected as the Pre- 
sentation Prints to the Subscribers ; and for the management of the general 
business of the German Art-Unions in Great Britain ; and they beg to ac- 

? iuaint the Nobility and Gentry of England, Ireland, and Scotland, that 
rom Mr. Hering can be obtained every information respecting their Insti- 
tutions, and that to him all communications are to be addressed. 

Mr. Henry Hering, in pursuance of the Resolutions of the Councils 
of the German Art-Unions, has the honour to intimate to the Nobility and 
Gentry, the Lovers and Patrons of Art in the United Kingdom, that he has 
established an Office at No. 9, Newman-street, for the express purposes 
of the Institution, where will be exhibited daily, Specimens of the Engravings 
which have been published by the Unions and presented to the Subscribers 
from year to year, and where books are opened with the names of Subscribers 
in England, Ireland, and Scotland. Correct Translations from the German 
of the Prospectus issued by each of the Unions, viz., Berlin, Diisseldorf, 


Dresden, Munich, and Frankfort, will be also registered for inspection. The 
only essential particular in which the Unions of Germany differ from that of 
England is the manner in which a selection is made of the Pictures which are 
to form the Prizes. In the German Associations one principal object is kept 
in view — that of improving the Public Taste, by delegating to a competent 
Committee of known judgment, Twelve in number, the choice and selection 
of such Pictures as will form the Prizes. A double advantage is thus gained ; 
no encouragement is given to inferior productions of Art, nor is the public 
i taste left without some guidance by Professors of acknowledged experience 
i in Art. 

I It is further intended, that if the amount of the Subscriptions in England 
shall realize the expectations of the Council, a Gallery shall be opened for 
Two Months in each Year in London, for the reception and exhibition of all 
the Pictures that will form the Prizes at the next ensuing distribution, to 
which exhibition free access will be given to every holder of a Ticket. 

I A liberal proportion of Tickets will be appropriated by the Councils of 
the several Unions for disposal to the British Subscribers, each of which 
Tickets will bear the Signature of the accredited Officers of the Institutions, 
and must be countersigned by Mr. Hering as their Agent, 
j The price of the Subscription Tickets in either of the Associations, viz. : 
Berlin, Diisseldorf, or Dresden, will be 20s. each, which sum will cover every 
expense of Postage, Duty, Freight, and Delivery at the Repository in New- 
man-street, of the Prizes that may be awarded, and also of the Engraving 
which will be presented to the holder of each Ticket. The Price of each 
Ticket to be paid in advance, for which a Receipt Ticket will be £iven, which 
Ticket will entitle the holder to all the advantages of the Institution to which 
it appertains. For the convenience of Subscribers residing at a distance. 
Share Tickets will be forwarded in course of Post, upon the Receipt of a 
Cash Order, payable in London ; or a Post-office Order, or a cross Cheque. 
Each Subscriber will be entitled to one Copy of the Annual Presentation 
Engraving, from the date, and during the continuance, of his Subscription, 
which will be delivered within from One to Three Months after the close of 
every drawing, and also be at liberty to purchase, at the rate of 20s. each, an 
: impression of any one of the Engravings that have been already distributed. 
One Month’s Notice will be given in the Daily Journals of the intended Day 
of Appropriation of the’Prizes in each Union ; and it is Mr. Hering’s inten- 
j tion to proceed to Germany, in order to be present at the Drawing, and to 
' represent the interest of every one who has, through his Agency, subscribed 
| to these Institutions. A similar notice will also be given of the latest day on 
' which Subscriptions can be received, after which the Lists for that Year will 
be closed, and the numbers forwarded to the various Committees of Manage- 
ment. Mr. Hering begs most respectfully to assure all who may honour him 
with their Names as Subscribers to the German Art-Unions, that the utmost 
endeavours shall be exerted by him to protect their interests, and to prove 
himself worthy of their confidence. 

GermanRrpobitory of Art, 

Newman-street, Oxford-street, London. 


That independent and interesting Monthly Journal, “ The Art-Union,” in speaking of the facilities now offered to persons resident in this country of 
becoming associated with the Art-Unions of Berlin, Diisseldorf, Munich, Dresden, and Frankfort, thus says : 

“ It is proposed to extend the benefits of the Art-Unions of Germany to this country, an enterprise which must cause a considerable circulation of German Kngraviugs 
among us, and whence can result nothing 6ave improvement.” 

And in alluding to the Engravings which have been gratuitously presented to the Subscribers, the same Journal adds : 

44 In 1839 the Art Union of Dusseldorf presented to subscril>ers an engraving by T. Felsing, from a picture by Bendetnau, entitled * Girls at the Fountain.* The title, 
which might admit of a much less refined illustration thin exists in this beautiful engraving, is not worthy of the work; for, in the composition, the fountain is a mere 
accident, the whole force of the theme being settled in the expression of the countenances of two girls, which involves a tale of the heart. The engraving is in line, and in 
the perfection of that style. In 1840 the same Art- Union presented to its subscribers an engraving by Felsing, from a picture by Kohler, entitled * Poetry.* The subject 
is made out by a figure in a sitting position, winged and draped, and writing in a book the inspirations she is invoking. This figure is also in line engraving, and is as 
much su|>erior to ordinary allegory, as good poetry is to bad. In 1841 this was followed by ‘The Queen of Heaven,* engraved by Professor Keller, from a picture by Deger, 
exhibiting the most exalted feeling for religious painting. 

“In 1839 the Berlin Art-Union presented its subscribers with ‘ Die Lurley,* an engraving by Mandel, from a picture by Carl Begas. The subject is from one of the 
legends of the Rhine, in which a maiden is described as luring by night passengers out of their way by the sweetness of her music. The figure is on a cliff supposed to 
overlook the Rhine, and a traveller is seen ascending the rock. The figure is admirably drawn, and is characterized by much of the beauty of the greatest works. The 
same Society, in 1837, gave to its subscribers 4 Das Trauemde Kftnigspaar,* engraved by Lfideritz, firom a picture by Lessing, and enforcing the moral, that no •* flesh** is 
exempt from sorrow— 44 Das KOnigspaar” a king and queen are seated lamenting the evils of humanity, from which their high estnte cannot secure them. 

44 Kach of those works is of a high standard of Art. We find in them aims to approach the most celebrated works of the Italian school ; and it must be confessed that 
they do excel works to which attach even celebrated names of that school. 

44 We anticipate the most favourable results from a nearer connexion with schools that have studied so closely the great models.** 


TIIE SUBSCRIPTION LIST TO THE ART-UNION OF DRESDEN WILL SHORTLY CLOSE. 

TWO BEAUTIFUL PRINTS WILL BE PRESENTED TO EACH SUBSCRIBER, vi«., 

‘THE POWER OF MUSIC;’ after Professor RIETSCHEL. 

JOHN OF LEYDEN ADMINISTERING BAPTISM TO AN ADULT FEMALE AT MUNSTER, IN WESTPHALIA, IN THE 
PRESENCE OF HIS ENTHUSIASTIC FOLLOWERS;’ after BAEHR. Size 21 by 16. 

* This Print is finished, and now on view at the REPOSITORY, 9, NEWMAN-STREET. 

Subscriptions also received by Messrs. Leqgatt and Neville, 79, Corahiil. 


London:— Printed at tht office ol Palmer and Clayton, io, Crane Court, Fleet Street, and Published by Jibmuah How, IM, Fleet Street. -October l, 180. 




THE 


PAINTING 

SCULPTURE 

ENGRAVING 

ARCHITECTURE 

&C. &C. &C. 


ART-UNION. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&C. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 46. 


LONDON: NOVEMBER 1, 1842. 


Price 1$. 


THIS JOURNAL BEING STAMPED , CIRCULATES , POSTAGE PREE, TO ALL PARTS OF THE UNITED KINGDOM. 


A rt-union of London.— in 

consequence of the numerous applications made 
for the Engraving of ‘ THE SAINTS* DAY/ dne to 
the Subscribers of the year 1841, the Committee feel 
compelled to publish the following (the last) letter re- 
ceived from Mr. Chevalier, the Engraver, in explana- 
tion of the delay which has occurred, and to assnre the 
Subscribers that no endeavours shall be wanting to 
obtain the immediate completion of the plate 

44 Oct. 17,184*. 

“ My dbar Sirs,— I proved the 4 Saints* Day* on 
Saturday last. Two of the proof* will be sent to the 
Committee to-morrow. 1 trust the gentlemen on in- 
specting them may be satisfied with the work I have 
added to the plate since the last state sent iu. Mr. 
Knight, I trust, will be able to examine the present 
state in a few davs ; and I hope soon afterwards to bring 
the subject to a finish. 

44 1 ought to have written to you before this, for I 
promised to send in proofs much earlier : but my mind 
has bean so engrossed in working on the plate, and 
cramped by having been so out in my calculations re- 
specting time with this work, and the inconvenience 
and trouble the Committee must have felt, that I have 
forgotten many things.— I remain, dear Sirs, yours 
very trnly. W. Chbvalibr. 

44 To the Honorary Secretaries of the 
Art-Union of London/* 

The Engraving due to the Subscribers of 184*, from 
Hilton’s Picture, 4 Um a entering the Cottagb/ 
is in a forward state of preparation. 

Subscribers of the current year will receive copies of 
an Engraving from Sir Augustus Callcott’s pic- 
tare, 4 Raffaklle and thb Fornarina/ which is 
thready far advanced. 

The Lists are now open, and an immediate subscrip- 
tion is solicited. n 

Geo. Godwin, Jun.,'1 Hon. 
Lbwis Pocock, / Secs. 

4, TrafUgar-square, Oct. *5, 1842. 

T O ARTISTS— ART-UNION OF LONDON. 

—SIXTY POUNDS will be given for the best 
consecutive Series of TEN DESIGNS in OUTLINE, 
size, 1* inches by 8. The subject is left at the option of 
the Artist, but must be illustrative of some epoch in 
ltritish History, or be taken from the work of some 
English Author. Simplicity of composition and ex- 
pression, severe beauty of form, and pore, correct 
drawing, are the qualities which the committee are 
anxious to realise in this Series. If it should be 
deemed expedient to engrave the compositions selected, 
the Artist will receive a further remuneration to super- 
intend the publication. The Drawings, accompanied 
by a sealed letter containing the name and address of 
the artist, must be forwarded to the Honorary Secre- 
taries on or before Lady-day 1848. 

Georgs Godwin, Jun.,\ Hoi , a^. 
Lewis Pocock, / “ 

4, Trafalgar- square, October 11, 184*. 

T O SCULPTORS— ART-UNION OF LON- 
DON.-The Committee W leaveto Mrifrtbat 
they will be ready to purchase, for THIRTY FOUNDS, 
a FIGURE or GROUP, 15 inches high, cahmUtedfor 
being cast in Bronze, carefully finished off in Plaster, 
and exhibited at one of the Metropolitan Exhibitions 
for 1843. 

Georg* Godwin, Jon., l Hon 
Lewis Pocock, J 

4, Trafalgarwsquare, October 11, 1842. 


TTNIVERSITY COLLEGE, LONDON.— 
U ARCHITECTURE.— Professor Donaldson’s 
Introductory Lecture, delivered on Monday, the 
17th of October, is just published, price Is. 

Printed for Taylor and Walton, Booksellers and 
Publishers to the College, 28, Upper Gower-street. 

S CHOOL OF ART, No. 6 , CHARLOTTE- 
STREBT, BLOOMSBURY.— This School, esta- 
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Education of Artists, and the Instruction of Amateurs 
in Drawing and Painting in Oil and Water Colours, 
Modelling, Etching, &c., possessing every requisite as 
a Probationary School for the Royal Academy, is now 
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The Gallery, Studios, and Library contain an exten- 
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kc. 

For Terms, apply to Mr. F. S. Cary, who may be 
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Just published, 

E ngravings after the beat pictures 

of the GREAT MASTERS, Dedicated (by com- 
mand) to her Majesty. . . ^ 

Part V. containing— ‘The Virgin and Child,* after 
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France/ 1610, after Rubens— ‘The Farmer’s Family/ 
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Part IV. contains— ‘The Blind Fiddler/ after Sir 
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Prints 18s., Proof* 81s. 6d., before letters 42s. Any 
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London: Colnaohi and Puckle, and Ackermann 
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Now ready, in imperial 8vo., richly bound and gilt, 
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T he castles and abbeys of Eng- 
land, by Dr. Beattie; with upwards of Two 
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London : Tilt and Bogus ; G. Virtue. 

Just published, 

C hrist raising the widow’s son. 

By Overbeck. 

Price: Prints, 12s.; Proofs, £\ Is.; Before letters, 
£2 2s. 

London : Published by H. Grave* and Co., Pub- 
lisher in Ordinary to her Majesty, 6, Pall -mall. 

AFGHAUNISTAN. 

Now ready, and may be had of all Book and Print- 
sellers in the Kingdom, 

HAGHE*S BEAUTIFUL LITHOGRAPHIC WORK 
of the 

P ASSES, FORTS, and CITIES, of the 
SCENE of WAR in INDIA; drawn on the spot 
by Dr. James Atkinson, including Views of Csubul, 
Candahar, all the celebrated Passes, Portraits 
from lifb of Shah-Soojah, Dost Mmhommed, Sir 
William Macnsghten, fitc. &c. 

Price: 3fi plates, half morocco, 4s. ; coloured and 
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London : Published by H. Graves and Co., her Ma- 
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Now ready, Part 12, of the 

W ORKS of the late SIR T. LAWRENCE. 

P.R.A., containing Portraits of 4 The Lady 
Fane/ ‘The Baring Family/ and ‘The Hon. 
Mrs. Ashley/ engraved in the finest style of Mezzo- 
I tinto. 

I “ The collection will be very valuable to the artist ; 
for the ease and grace which the President gave to hia 
sitters, afford important lessons ; and these advantages 
! can be communicated without the aid of colour. The 
’ Series is well engraved, and the Work altogether is a 
monument to the memory of the accomplished painter.” 
-Art-Union. 

Price, Prints, 12s.; Proofs, £1 Is.; Before Letters, 
£\ lls. 6. 

London: Published by H. Graves and Co., her Ma- 
jesty’s Publishers, 6, Pall-Mall. 

Just published, 

Ar NEW ANNUAL FOR 1843. 

T he gems of stuart newton, r.a. : 

containing the most unique Specimens of that 
highly-talented Artist, engraved in the finest style of 
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and brief Memoir of tne late Royal Academician, by 
Henry Murray, Esq. Beautifully bound in purple 
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“ We have here a series of Engravings from New- 
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but worth the whole of the Season’s trifles combined, 
for these are really gems of Art.”— Art-Union. 

London: Published by Henry Graves and Co., Pub- 
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BURGHLEY-HOUSE. NORTHAMPTONSHIRE. 
Now publishing, under the Patronage of. and dedicated 
by permission to, the Most Noble the Marquis of 
Exeter, K.G. Price to Subscribers: Proofs, One 
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acribers: Proof*, 24s.; Prints, 12a. 

A SERIES of FOUR VIEWS of BURGH- 
LEY-HOUSE, NORTHAMPTONSHIRE, the 
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Lithographic Art, by B. Rudge, Bedford. Siz6, 15 
inches by 10 inches. The first View is now ready, and 
may be seen at the Publisher’s, Mr. Samuel Sharp, 
Bookseller, Stamford; and at Ackermann and Co.’s, 
Strand, London. ^ m 

Burghley-House which was built by the great Trea- 
surer Burghley, is a unique specimen of thefinest style of 
Architecture of that period, and is famous as con- 
taining some of the most valuable Works of Art in the 
Kingdom, and many choice Articles of Vertu. 

Her Majesty the Queen Adelaide, Hia Royal High- 
ness the Duke of Cambridge, the Right Hon. the Earl 
of Lonsdale, the Right Hon. the Earl Brownlow, the 
Right Rev. the Lord Bishop of Lincoln, the Right Hon. 
the Marquis of Granby, M.P. (2 copies), Lord Carbery, 
Lord Thomas Cecil, Lady W. Poulett, Lord Clinton, 
the Hon. Charles Thomas Clifford, Sir John Trollope, 
Bart., M.P., Sir William Welby, Bart., the Hon. Cap 
tain Spencer, M. P., Christopher Turner, Esq., M. F., 
General Johnson, M. P., General Birch Reynardson, 
Augustus Stafford O’Brien, Esq., M.P., T. P. Maunsell, 
Esq., M.P., W.A. Hankey, Esq. (2 copies), the Venerable 
H. K. Bonney, D.D., Arcndeacon of Bedford, the v ene- 
; rable J. K. Bonney, Archdeacon of Leicester, &c. &c., 
Thomas Hotchkin, Esq. (4 copies), are among the 
numerous Subscribers. „ 

A View of the beautiful Lodge Entrance to Burgh- 
I ley-House, by the same Artist, may also be had of the 
! before-mentioned Publishers. Price Is. each. 


246 


THE ART-UNION. 


[Nov., 


THE HOLY LAND. 


DAVID ROBERTS’S VIEWS IN PALESTINE, 


EGYPT, ARABIA, AND SYRIA. 

With Historical and Descriptive Notices, by the Rev. George Croly, LL.D., Rector of St. Stephen’s, Walbrook, London. 

The following Parts are already Published : — 


PART I. 

ENTRANCE TO THE HOLY SEPULCHRE. (Title.) 

THE DAMASCUS GATE. 

GREEK CHAPEL OF THE HOLY SEPULCHRE. 

TOMB OF ST. JAMES. 

JERUSALEM FROM THE ROAD LEADING TO BETHANY. 
ENTRANCE TO THE TOMB OF THE KINGS. 

THE MOSQUE OF OMAR. 

PART II. 

THE TOMB OF ZECHARIAH. 

JERUSALEM FROM THE SOUTH. 

THE EXTERIOR OF THE HOLY SEPULCHRE. 

POOL OF BETHESDA. 

TOWER OF DAVID. 

SHRINE OF THE HOLY SEPULCHRE. 


PART III. 

THE GOLDEN GATE. 

CHURCH OF THE PURIFICATION. 

UPPER FOUNTAIN OF SILOAM. 

JERUSALEM, FROM THE MOUNT OF OLIVES. 
THE STONE OF UNCTION. 

CHAPEL OF ST. HELENA. 

PART IV. 

THE FOUNTAIN OF JOB. 

JERUSALEM FROM THE NORTH. 

THE POOL OF SILOAM. 

ENTRANCE TO THE CITADEL OF JERUSALEM. 
PILLAR OF ABSALOM. 

CALVARY. 


PART V. — Petra. 

ARABS OF THE DESERT. 

KL DEIR. 

ENCAMPMENT 01 ALLOEEN, IN WADY ARABA. 

EL KHASNE. 

ANCIENT WATCH TOWER. 

LOWER PORTION OF EL KHASNE. 

Price £ 1 is Proofs, £\ lls. 6d. ; and a few copies, coloured and mounted, in imitation of the original Drawings, in a Portfolio, £9 3s. 


THE HEROIC ACTION OF GRACE DARLING AND HER FATHER. 

WHO, AT THE IMMINENT PERIL OF THEIR LIVES, RESCUED THE SURVIVORS OF THE 

WRECK OF THE FORFARSHIRE STEAM PACKET 

FROM PERISHING ON THE ROCK8 OF THE FERN ISLANDS, ON THE 7TH SEPTEMBER, 1838, 

From a Picture painted on the Spot, by H. P. Parker and J. W. Carmichael, containing PORTRAITS of the HEROINE and her FATHER. 

The Forfarshire steam-packet, on her voyage from Hull to Dundee, was overtaken on the night of the 6th September, by a tremendous storm, and 
driven on the Fern Islands, a group of barren rocks lying off the coast of Northumberland, between Bamborough Castle and North Sunderland. The 
ill-fated vessel struck about two o’clock on the morning of the 7th, and the wreck was first perceived by Grace, the daughter of William Darling, 
the keeper of the Longstone Lighthouse, while she was attending to her customary occupation of trimming the lamps of the revolving light : she 
immediately aroused her father, and they listened through the hours of darkness to the cries of the perishing souls, heard in the pauses of the storm, 
without power to render any assistance. As the day dawned, they perceived some of the passengers on the rock : but the storm still raged with the 
utmost violence ; the distance from the wreck was two miles, by a tortuous and narrow channel between the rocks, through breakers ; they had only 
a small and slightly built boat (called a coble), which would hardly live in such a tremendous sea ; and, the greatest difficulty of all, William Darling 
had no one to assist him, — his son, who generally lives with him, being unfortunately away on the main land, a distance of nine miles. To afford any 
succour under such circumstances seemed impracticable ; and the old man was reluctantly compelled to abandon all hope of saving his famishing fellow- 
creatures : in a few hours they must have been washed away by the tide that was rapidly advancing upon them, had they been able to survive the 
j inclemency of the weather, and their sufferings from hunger and cold — the spray constantly dashing over them daring the night. 

| The point of time chosen for the picture is that when the little boat is nearing the rock : in the fore-ground are seen William Darling and his 
I daughter, toiling through a sea that would have daunted the bravest heart that ever beat beneath a sailor’s jacket ; the old man is plying his oars, and 
Grace, who manages the aft-oar, is trying to avoid a huge fragment of the wreck that seems about to be dashed by the fury of the waves against the boat, 
threatening to destroy it. In the middle distance are the remains of the wreck ; the vessel had broken in two, and the after-part had been carried away, 
but the fore-part, with the disabled paddle-wheels, liea oo the rocks, the sea beating over her, so that no one could be on board and live : near it, on a 
fragment of rock, to which they managed to get from the vessel, are the few half-clad sufferers, whose gestures express their transports of joy and 
gratitude at the prospect of speedy deliverance, mingled with prayers for the safety of their preservers, and thanksgiving to the Divine Providence that 
has spared their lives. In the further distance is Longstone Lighthouse, its light dimly shining through the grey of the morning, whose first rucMy 
streaks illumine the wild watery horizon, and reveal the whole expanse of the tempestuous ocean. Over head, two or three screaming sea-gulla buffeting 
with their native element, seem almost beaten down by the hurricane that drives on the rack of storm-clouds, mixing the clouds and spray ; the crests or 
the leaping surges are seen relieved against the sky on every side. 

j Prints, £\ is Proofs, £2 2s — Proofs Before Letters, £3 3s. 


NEARLY READY, 

A Series of Etchings and finished Plates to illustrate 

EDWIN LANDSEER’S DEER-STALKING IN THE HIGHLANDS. 

| The Work will consist of Etchings by Edwin Landseer, B.A., and Engravings by J. H. Robinson, C. Fox, T. Landseer, and other eminent Engravers. 

PREPARING FOR PUBLICATION, 

A MAGNIFICENT WHOLE LENGTH EQUESTRIAN PORTRAIT OF 

HIS GRACE THE DUKE OF BUCCLEUCH AND QUEENSBERRY. 

PAINTED BY 

JOHN WATSON GORDON, ESQ., R.S.A. A.R.A. 

Mr, Moon has much gratification in being enabled to announce to the numerous Friends and Admirers of this Patriotic Nobleman , that he is preparin 
tor publication a fine Engraving from this Portrait. No engraved Portrait of the Duke of Buccleuch is in existence, and every effort will be made to render 
this one worthy of the expectations of the country. 

London : F. G. MOON, 20, Threadneedle-street, by Special Appointment, Printseller in Ordinary to Her Majesty. 


1849 .] 


THE ART-UNION 


247 


THE ART-UNION. 



LONDON, NOVEMBER 1, 1843. 


CONTENTS. 


1. NOTES ON BRITISH COSTUME 353 

3. THE SUBJECT OF ANCIENT GROUNDS .. .. 255 

3. THE ARTS IN CONTINENTAL STATES : 

ITALY ; FRANCE *, GERMANY J 
PRUSSIA; DENMARK; RUSSIA .. .. 356 

4. COLOGNE CATHEDRAL 356 

5. OBITUARY 257 

6. VARIETIES: 

THE ROYAL COMMISSION ; THE 
LIVERPOOL PRIZE ; THE ROYAL ACA- 
DEMY ; PICTURE FRAMES; 44 NA- 
TIONAL” ART-UNION; PUBLIC POR- 
TRAIT; THE CHAPEL ROYAL, WIND- 
SOR ; MODELS IN CLAY 258 

7. THE STUDY OF ARCHITECTURE 258 

8. THE TEMPLE CHURCH 259 

9. ART IN THE PROVINCES 259 

10. SPRING FLOWERS 259 

11. THE CASTLES AND ABBEYS OF ENGLAND 264 

1*2. THE ART-UNION OF LONDON 363 


13. CORRESPONDENCE: 

THE CARTOONS ; THE OLDER 
MASTERS; “OLD” PICTURE 8ALK8 ; 
OERMAN COMPLIMENTS TO BRITISH 
ART 364 

14. REVIEW OF PUBLISHED WORKS : 

THE ENVIRONS OF LONDON ; GIL 
BLAS AND CAMELLIA ; GUIDE TO THE 
COUNTY OF WICKLOW; HIS ROYAL 
HIGHNESS THE PRINCE ALBERT ; 
TRIBUTE OF RESPECT TO THE ME- 
MORY OF SIR CHRISTOPHER WREN; 

THE EVE OF THE DELUGE*, THE 
WIDOW’S SON; ELEMENTARY PER- 
SPECTIVE J HERALDRY OF FISH .. .. 365 


NOTES ON BRITISH COSTUME. 

PART THR SECOND. 

BY FREDERICK U\ FAIRHOLT. 

TIIE DANES. 

The short period during which the kings of 
this people kept the ascendancy in Britain is 
very meagre in authorities upon which we may 
depend for the illustration of their peculiar cos- 
tume. From an examination of what little we 
possess, and from stray passages to be met with 
in the writers of that early period, we find they 
differed but little from the Saxons; and the 
silence of the Saxon writers, who have carefully 
noted the peculiarities of their own countrymen, 
is a tacit argument for the fact. In the colour, 
however, a change may have occurred, if not in 
the shape, of their garments ; black being the 
favourite tint of this people, and “ the black 
Danes” the common appellation by which they 
were recognised ; a feeling carried ont by them- 
selves in the choice of the raven as their national 
emblem, and whichflgured on thecelebrated stand- 
ard of this “ black army.” They eventually dis- 
carded this colour, as they also did their original 
garments — the garb of sailors— so befitting their 
voyaging and piratical propensities ; and, having 
achieved conquests to be enjoyed, became as 
gay in clothing and effeminate in manners as 
their neighbours ; at least, so say the choniclers, 
who also blame them for too frequently attracting 
the wives and daughters of the nobility by their 
fopperies. Long hair, which they regularly 
combed once a day, was a distinguishing feature 
with them, and one on which they prided them- 
selves, exhibiting the most devoted attachment 
to this natural ornament, and in this particular 
completely rivalling the ladies. The “ lover of 
the lady, beauteous in his locks ,” mentioned in 


“ The Death Song of Lodbrqc,”* seems to usurp 
the praises that would be bestowed, according to 
modern notions, more appropriately upon the 
lady herself. The hair of King Canute is de- 
scribed as hanging in profusion over his shoulders, 
and the locks of many gentlemen descended to 
their waists ; and so careful were they of their 
precious curls, 'that an anecdote is related of a 
young Danish warrior, whose “ ruling passion, 
strong in death,” induced an urgent request to 
the executioner, neither to allow his hair to be 
touched by a slave, or even to be stained with 
his own blood during the decapitation he was 
about to suffer. 

A manuscript register of Hyde Abbey is in 
the possession of the Duke of Buckingham, at 
Stowe, executed about the middle of the eleventh 
century, which gives us various illustrations 
of the costume of this period, as well as full 
length figures of Canute and hi9 Queen Alfgyfe. 

“ The drawings are executed,” says Dr. Dibdin, 

“ in that peculiar style of art which characterizes 
the productions of the tenth, eleventh, and fre- 
quently the twelfth centuries, namely, tall and 
somewhat disproportionate figures, flowing, or 
rather fluttering draperies, elongated hands and 
feet ; and a general delicacy of expression through- 
out both feces and figures.” He has engraved 
(in the first volume of his “ Bibliographical 
Decameron, ”t where this remark occurs,) a group 
of Saints and Martyrs, a glance at which will 
show the exact similarity of their costume to 
that of the Anglo-Saxons already described. 
Canute is represented in a plain tunic and man- 
tle, the only novelty being that his mantle is tied 
by cords, ending in conical ornaments or tassels ; 
he wears stockings nearly reaching to the knee, 
the tops ornamented by a band, similar to the 
modern Highland stocking. The Queen is also 
perfectly Saxon in appearance ; a simple gown 
with wide sleeves, a mantle tied like that of her 
husband, and a close covering for the head, 
beneath which peeps the royal circlet of gold 
and jewels, complete her costume. The figure 
of the Virgin, delineated above her, is also in all 
points the same as the Anglo-Saxon figures 
already engraved and described, as are also the 
saints and apostles who appear in the same scene, 
and throughout the volume. That representing 
Canute and his Queen has been engraved in 
Strutt’s “ Horda Angel Cynan.”t 

* This wild rhapsody is an ancient Danish poem, sup- 
posed to have been uttered by Regner Lodbroc, King of 
Denmark, who is generally believed to have flourished in 
the eighth, or beginning of the ninth, century. After a 
variety of adventures he was, at last, made prisoner by 
Ella, a Northumbrian prince. He was condemned to 
die by the bite of vipers, and, during the operation of 
their poison, is reported to have sung this death-song. 
A similarity of manners, in this particular, characterized 
the Indian warriors, who sang their exploits at their 
deaths, and taunted their conquerors. 

t This work is constructed upon the model of Boc- 
caccio ; but it is entirely devoted to 44 ten days’ pleasant 
discourse upon illuminated manuscripts and subjects 
connected with early engraving, typography, and bib- 
liography.” It is profusely illustrated with beautifully 
executed fec-similes, on copper and wood, of the more 
remarkable designs that occur in ancient literature, 
and contains a vast fund of information, couched in 
the luuguage of pleasant discourse. Aa a volume of 
light reading, embracing deep knowledge of the sub- 
jects discoursed on, it cau scarcely tind a rival. The 
illustrations are exceedingly valuable to the student iu 
the history of this particular branch of Art ; and the 
first 225 pages of tne first volume are devoted to an 
historical disquisition on illuminated manuscripts, with 
many exquisite illustrations, which fully preserve the 
feeling and beauty of the originals, many of which, as 
works of Art, could scarcely be exceeded in the pre- 
sent day. 

% Or, as the title continues, 44 A Complete View of the 
Manners, Customs, Arms, Habits, &c., of the People 
of England, from the arrival of the Saxons till the reign 
of Henry tne Eighth,” a work containing much that 
is valuable, mixed with some few errors. “In esti- 
mating his performances,” says Dr. Dibdin, 44 we 
should not so much compare them with what might 
have been expected, as with what bnd been previously 
performed in our own country. In short, till the 
ardent and enterprising genius of Strutt displayed 
itself, we had scarcely anything which deserved the 
name of graphic illustrations of the state of Art in the 
earlier ages. When one thinks, too, that such a la- 
bourer was oftentimes working for subsistence “for 


The Danish warriors were more expert as bow- 
men than their Saxon opponents, and they 
prided themselves upon this warlike accomplish- 
ment. u Amidst the gust of swords ne'er did 
the string of his unerring bow dismiss his bolts 
in vain,” is the praise bestowed upon a warrior 
in u Lodbroc’s Death-song.” u The flexile yew 
sent forth the barbed reed — clouds of arrows 
pierced the close ring’d harness,” are expressions, 
among many to be found in this spirited poem, 
indicative of the dependence placed upon this 
portion of a Danish army. The ringed armour 
alluded to was worn by the Anglo-Saxons before 
the Danish kings were seated upon the British 
throne; and is met with, but not frequently, in 
the illuminations of that period; it consisted of 
a tunic, perhaps of quilted cloth or leather, upon 
which was fastened rings of steel, side by side, 
covering the entire surface, exactly similar to 
those worn by the soldiers of William the Con- 
queror, which have been engraved a little further 
on. 



The principal object in the above group is the 
singularly-shaped shield that appears to have 
been peculiar to the Danes, who had, however, 
the orbicular shield also in use.* This is per- 
fectly Phrygian in form ; and is another instance, 
added to the many, of their preservation of the 
form of antique war implements among them 
from very remote periods. The bow and arrows, 
the former of which is richly ornamented, is from 
Cotton MS., Tiberius C. 0. The hatchets, spears, 
shield, swords, &c., are collected from Strutt’s 
“ Horda Angel Cynan,” Meyrick’s “ Critical In- 
quiry into Ancient Arms and Armour,” Cottonian 
Sis., Claudius B. 4, and Harleian MS., No. 603, 
and give a general idea of the weapons in use 
during this period. 

Twenty-four years before the invasion of Wil- 
liam the Conqueror the crown of England re- 
verted to the Saxons, and during that period Ed- 
ward the Confessor and Harold the Seroid were 
seated on the British throne. Driven for safety 
to Normandy, when but 13 years of age, Ed- 
ward returned at 40 to his native land, a 
Norman in manners; and the feeling generated 

the day that was passing over him”— that the ma- 
terials he had to collect were not only frequently 
scattered in distant places, but incongruous in them- 
selves— that scarcely an Englishman had turned a turt 
in the same field before him— all the severer functions 
of criticism become paralysed in a generous bosom ; 
and we are compelled to admit that Joseph Strutt is 
not only 4 a fine fellow in his way,’ but is entitled to 
the grateful remembrance of the antiquary and the 
man of ta6te.” What a strong satire and reproach is 
the industrious life of Strutt upon the * 4 learned lei- 
sure” and unemployed time of many more independent 
I and better educated men. 

* “ Red were the borders of our moony shields” is in 
I expression made use of by the hero Lodbroc. 



248 


THE ART-UNION 


[Nov., 


by 27 years’ intercourse with the people of an- 
other land, at an age when the mind is most sus- 
ceptible of lasting impressions, clung, of course, 
to him through life. His Norman predilections 
were visible in all he did ; he spoke in their lan- 
guage, and introduced their customs into his 

S alace, which was pretty nearly populated by 
forman adventurers, whose company the king 
generally, from long habit, preferred. The 
Saxons, who desired to be well with their 
monarch, learned to speak French, and urge 
their claims to notice in the favourite language 
of their masters ; and the dress, fashions, and 
manners of the Normans were as faithfully imi- 
tated, much to the disgust of the genuine Saxon 
lords, and which daily caused enrolments in 
the ranks of Earl Godwin, and others of the dis- 
affected, who were loud in their condemnation of 
the changes wrought by the king. One novelty 
was introduced by Edward, for which we may 
be grateful — the introduction of the “ Great 
Seal,”* which has continued from his era to our 
own, and furnishes us with the authentic regal 
costume of each sovereign in undoubted accu- 
racy ; and combined, as it generally is, with an 
armed figure on the reverse, it becomes of con- 
siderable value. Upon his great seal Edward is 
represented seated in regal costume, consisting of 
a plain robe reaching to his feet, and liaving 
tight sleeves, over which hangs a mantle, cover- 
ing the left arm and leaving the right arm free, 
upon the shoulder of which it is secured by a 
brooch or fibulae. He holds in his right hand 
a sceptre, upon which is a dove. This sceptre is 
a staff of considerable length, reaching to the 
ground, after the fashion of the antique ; a sword 
is in his left hand. Upon his head he wears the 
regal helmet, a fashion not unfrequent with the 
Danish sovereigns, who are often represented as 
wearing it, upon their coins.t 

This may not be an improper place to say a 
few words on the subject of early regal head- 
dresses and crowns. The earliest form of a dis- 
tinctive ornament for kings is to be met with in 
the regal fillet, or head-band of gold and jewels, 
or, as it sometimes appears, of strings of jewels 
alone, and which is to be seen upon the earliest 
coins of our national series. Upon the coins of 
the Kings of Mercia it is very distinctly visible, 
and two examples are here given. Fig. 1 (next 
col.) is copied from a coin of Offa, who reigned be- 
tween a.d. 757 and 796 ; Fig. 2 is from a coin of 
Behrtulf, who flourished a.d. 839 — 852 ; Figs. 3 
and 4 are of a later date, from Strutt’s “ Horda 
Angel Cynan:” in some instances tassels or 
strings occur dependent from it at the back of 
the head. On the coins of Egbert and Ethelwulf, 
a round close cap or helmet appears, which be- 
comes very distinct in those of Ethelred and 
Canute : in the first of these two instances it is 


* Previously to this period farms or estates of land 
were granted or disposed of by our kings and great 
lords only by word of mouth, without writing or 
charter, by the gift of the donor’s sword or helmet, or 
liis drinking horn orcup. (The Puseyhorn, by which 
that family held their land from Canute, has been 
already alluded to in part the first.) Tenements were 
held by gift of a spear, a bow, arrow, &c. Grants of 
land were sometimes confirmed to religious bouses by 
laying a sod of the ground given upon the altar of the 
church. Written charters succeeded, and as few even 
among the kings or nobles could write, they affixed the 
mark of the Cross to their names, as a sacred mark of 
the inviolability of the grant then made. Edward the 
Confessor added to this the seal of the subscribing 
party, which became confirmed into law, the one being 
us uecsssary as the other. Thus he commenced the 
custom of witnessing by “ Hand and Seal,” which he 
had learned in Normandy. 

t The chest, containing the body of Edward the Con- 
fessor, was opened during the reign of James the 
Second, when there was found under one of the 
shoulder bones of the royal corpse a crucifix of pure 
gold, richly enamelled, suspends by a chain of gold 
24 inches Ions:, which, passing round his neck, was 
fastened by a locket of massive gold adorned with four 
large red stoues. The skull was entire, and was en- 
circled by a band or diadem of gold one inch in breadth. 
Several fragments of gold, coloured silk, and linen were 
also found, the relics of the regal dress in which it 
was customary then, and centuries afterward, to inter 
kings. 



visibly a helmet, encircled by the points or rays 
of a crown ; in that of Canute it takes the form of 
a close helmet, projecting over the forehead, or 
else of that conical shape so common to warriors 
of his day, and which has been already described 
when treating of that period. The best repre- 
sentation of this regal helmet I have yet seen 
occurs in Cotton MS., Tiberius C. 6, which is en- 
graved above, at Fig. 5 ; that of Edward the Con- 
fessor from his great seal, as rendered by Sir 
S. R. Meyrick, is placed beside it, Fig. 6. Of 
crowns many varieties occur, and we frequently 
see them of the apparently inconvenient square 
form that the helmet of the soldiers appear to 
have also takeu : an example (Fig. 7) is selected 
from Cotton MS., Tiberius C. 6, and others might 
easily be quoted. There is a representation of 
King Edgar, in Tiberius A. 3 of the same collec- 
tion of manuscripts, in which that sovereign 
appears with a richly ornamented crown of that 
shape (Fig. 8), and similar ones are worn by 
Lothaire, and other early French kings ; as may 
be seen on reference to the plates of the first 
volume of Montfaucon’s “ Antiquites de la Mo- 
narchic Franco! se.” The most common form 
of crown, however, in Anglo-Saxon times ap- 
pears to have been that depicted as worn by 
Edgar, in a representation of that monarch 
which occurs in his book of grants to the Abbey 
of Winchester, in the year 966, and which is still 
preserved in the British Museum among the 
Cotton MS., marked Vespasian A. 8 ; it forms 
Fig. 9 of the above group. Fig. 10 is from 
Harleian MS. 603 ; Fig. 11 from Cotton, Tiberius 
C. 6, and is remarkable for the arch that springs 
from its sides, which are decorated with florid 
ornaments strikingly resembling fleurs-de-lis, 
and which are of such frequent occurrence on all 
these ancient diadems. Edward appears in 
crowns of various shapes upon his coins : one has 
a double arch (Fig. 12) ; and Harold the Second 
wears one still more richly decorated upon one of 
his coins, and which exhibits clearly the pendants 
that bang from the back of it (Fig. 13). * 

During the reign of Harold the Second, who 
had also visited and resided in Normandy at the 
Court of William, the duke of that province and 
afterwards the Conqueror of England, we meet 
with the same complaint of the prevalence of 
Norman fashions. The Monkish Chroniclers 
declare that the English had transformed them- 
selves in speech and garb, and adopted all that 
was ridiculous in the manners of these people for 
their own. They shortened their tunics, they 
trimmed their hair, they loaded their arms with 
golden bracelets, and entirely forgot their usual 
simplicity. The custom of covering the arm 
from the wrist to the elbow with ornamental 

* A glance at the plates of Ruding’s “ Annals of the 
Coinage of Great Britain,” or Hawkins’s “ Silver Coins 
of England arranged and detcribed,” will furnish other 
examples to those already given, and bear out these re- 
marks more fully. 


bracelets has been before alluded to ; they appea r 
to have been marks of distinction, of which they 
were not a little vain. There is a curious repre- 
sentation of the Temptation of Christ in Cot- 
ton MS., Tiberius C. 6, in which the evil one is 
displaying the “ riches of the world” to the 
Saviour, and these bracelets form a conspicuous 
part of the “ glory thereof.” 



The Baveux Tapestry, of which we shall 
have much to say during the next reign, 
gives a curious representation of the coronation 
of Harold. The monarch is seated upon a raised 
throne, and holding a florid sceptre of a singular 
form and of considerable length. On his right 
stand two courtiers, who appear to be vowing 
allegiance upon the sword ; on his left stands 
Stigand, Archbishop of Canterbury. It is altoge- 
ther a valuable illustration of the regal, noble, 
and ecclesiastical costume of this period. Harold 
is also represented previously in a plain red tunic, 
yellow cloak and stockings, a blue close cap, 
and blue shoes. 

“ In the military habit,” says Mr. Planch^,* 
“ Harold ordered a change which led to his de- 
cisive success in Wales. The heavy armour of 
the Saxons (for the weight of the tunic, covered 
with iron rings, was considerable) rendered them 
unable to pursue the Welsh to their recesses. 
Harold observed this impediment, and com- 
manded them to use armour made of leather 
only, and lighter weapons. This leathern armour 
we find to have consisted in overlapping flaps, 
generally stained of different colours, and cut into 
the shape of scales or leaves ; it is called corium 
by some of the writers in the succeeding century, 
and corietum in the Norman laws. It was most 
probably copied from the Normans ; for in the 
Bayeux Tapestry we perceive it worn by Guy, 
Count of Ponthieu, and Odo, Bishop of Bayenx, 
the brother of William the Conqueror ; and it 
continued in use in England as late as the thir- 
teenth century.” 

The ladies during all this time appear to have 
escaped censure, by their adherence to the simple 
garb so long in fashion among them ; though we 
shall see that, when they once “ broke bounds,” 
about a century after this period, they ran to the 
other extreme, and obtained a full share of that 
monkish censure that was now exclusively ap- 
propriated by their lords. During the period of 
which we are treating, they seem, with some few 
exceptions, to have been of a most exemplary 
character, exercising the domestic duties with 
virtuous unostentation ; every incidental or 
casual notice exhibiting them in the amiable light 
of kind mothers and good housewifes. They 
and the clergy shared the learning of the age 
between them. All remember the beautiful story 
of Alfred’s mother, the good Osburgha, who wed- 
ded him to learning by the promise of a splen- 
didly-ornamented volume of Saxon poetry, which 
caught his youthful eye while she was reading it 
surrounded by her children, and which he won 
by first successfully endeavouring to read its 
contents. Editha, the neglected wife of the 
priestly Edward the Confeessor, was as remark- 
able for her mental accomplishments as for her 

* History of British Costume. 


1 

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i 

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1842. 


beauty, her gracefulness, and cheerful amiability 
of temper. Ingulphus, the monk of Croyland, 
who was her contemporary and personal ac- 
quaintance, speaks of her with a homely and 
subdued enthusiasm that is singularly touching, 
declaring that she sprang from Earl Godwin, 
her rough and turbulent father, as the rose springs 
from the thom. M I have very often seen her,” 
says he, “ in my boyhood, when I used to go to 
visit my father, who was employed about the 
court. Often did I meet her as I came from 
school, and theu she questioned me about my 
studies and my verses, and, willingly passing 
from grammar to logic , she would catch me in 
the subtleties of argument . She always gave 
me two or three pieces of money, which were 
counted to me by her hand-maiden, and then 
sent me to the royal larder to refresh myself.” 

The ladies were also much skilled in physic, 
and the time unemployed in the practice of that 
art was devoted generally to works of charity, 
to study, or to needlework, in which art they 
were great proficients ; their value consist- 
ing in the due performance of their duties as 
mothers and housewives, it gave them a perma- 
nent influence and authority greatly beneficial to 
society in general. Alfred, in his translation of 
Boethius, has given us a beautiful picture of con- 
jugal love, which may have been sketched from 
nature by this learned and good man, on whom 
the name of King could cast no additional lustre. 

THE NORMANS. 

The Great Seals of the kings of this dynasty 
exhibit each monarch in a dress that varies but 
in the slightest degree from another. A tunic, 
reaching half way below the knee, and a mantle 
thrown over it and fastened by a fibula on the 
shoulder, or in front, completes the costume. 
William the First holds a sword in the right 
hand, and an orb, surmounted by a cross, in his 
left ; as also does his son Rufus. Henry I. and 
Stephen bear also swords and orbs, but the 
crosses upon them are surmounted by large doves. 
Of William the First various representations oc- 
cur in that valuable picture of the manners and 
costume of his period, known as the Bayeux 
Tapestry, and which is traditionally recorded to 
have been worked by his Queen Matilda, and the 
ladies of her court, to commemorate the Invasion 
and conquest of England by her husband, and by 
her presented to the cathedral of Bayeux, in 
Normandy, of which Odo, the turbulent half- 
brother of William was bishop ; it reached com- 
pletely round the cathedral, where it was ex- 
hibited on great occasions. It is now preserved 
In the Town Hall of the city (having been re- 
moved from the cathedral since 1 803) where it 
is kept coiled round a roller : the tapestry mea- 
sures 20 in. in breadth, and is 214 feet in length ; 
it ends abruptly, and some portion is wanting. 
Dr. Dibdin, in his “ Tour In Normandy,” has 
engraved the tapestry on its roll, as it usually 
appears, and also has given a fac-simile of one of 
the portraits of William, copied, thread for thread, 
in imitation of the original needle-work. The 
Society of Antiquaries, feeling the value of this 
curious historic production, despatched Mr. C. A. 
Stothard to Normandy to copy it in the most 
accurate manner, which he effected with minute 
truthfulness; and copies of his drawing, one- 
fourth of the original size, were published in the 
sixth volume of their work, the u Vetusta Monu- 
mental’ This pictorial history of the Conquest 
commences with Harold’s visit to Normandy at 
the instigation of Edward the Confessor ; and 
gives all the incidents of his stay at William’s 
court, his subsequent departure, the death of 
Edward, and his funeral at Westminster, the 
coronation of Harold, William’s invasion, the 
battle of Hastings, and Harold’s death. In addi- 
tion to all this, many minute facts are recorded, 
and persons depicted and named that have 
escaped the chroniclers. 

Besides the figures of William in this tapestry, 
there is a full-length portrait of him in a manu- 
script that formerly belonged to Battle Abbey 


THE ART-UNION. 


(which was founded by him to commemorate his 
conquest), and relates to its affairs until a.d. 
1176: it is engraved in Dr. Dibdin’s “Biblio- 
graphical Decameron,” vol. i., from the original 
in Cotton MS., Domitian 2. In the public 
library at Rouen is a curious manuscript by 
William, Abbot of Jumi£ges, to which abbey 
William was a great benefactor, and in whose 
presence the church was dedicated to the Virgin 
by Saint Maurille, Archbishop of Rouen, in 1067. 
At the commencement of the book is a drawing 
representing the Historian offering this book 
to the Conqueror. The copy here given was 
drawn by me from the original while at Rouen 
two years since, and is now for the first time en- 
graved. It is the best regal figure of William 
we possess ; his tunic has wide sleeves with a 



richly ornamented border, and a cloak is fastened 
to his right shoulder by a brooch, or fibula. His 
crown is of singular shape, seeming a combination 
of cap and crown,* and he holds in his left hand 
a sceptre of somewhat peculiar form. His face is 
so carefully drawn that it bears the marks of 
portraiture, and a broad full face seems to be the 
characteristic distinction of the Conqueror in all 
contemporary representations of him. 

The ordinary costume of the people during this 
reign appears to have been as simple as that of 
the Anglo-Saxons : short tunics, with a sort of 
cape or tippet about the neck ; and drawers that 
covered the entire leg, and which were known as 
“ chauss6s,” were worn sometimes bandaged 
round the leg with various colours, or crossed 
diagonally. William is represented in one in- 
stance with blue garters and gold tassels over his 
red chauss6s, very similar to the regal figure en- 
graved as an illustration to the previous account 
of this fashion among the Saxons. Full trousers 
reaching to the knee are not uncommon, as may 
be seen in the instances here given ; and one ex- 
ample occurs in the tapestry in which they end 
in a series of Vandykes, or points of a different 
colour to the trouser itself. The tnnic too was 
sometimes variegated in perpendicular stripes 
from the waist, which was confined by a coloured 
girdle. Their mantles, as before observed, were 
fastened by brooches or pins of an ornamental 
character, either square or round, and which, hav- 
ing been common for ages previous, remained in 
fashion centuries afterwards. Three specimens 
are here engraved ; one of the most ancient form 
(Fig. 1) is copied from Douglas’s “ Nenia Bri- 
tannia ;”t the others, which combine both pin and 

* The Saxon Chronicle describes William as wearing 
the regal helmet “thrice every year when he was in 
England. At Easter he wore ft at Winchester, on 
Pentecost at Westminster, and in mid-winter at 
Gloucester.” 

t This work is styled by its author “ A Sepulchral 
History of Great Britain, from the earliest period to 
its general conversion to Christianity,” and is devoted 
to accounts of the opening of tumuli, and engravings 
of their contents, being similar to the volumes on 
44 Ancient Wiltshire.” by Sir R. C. Hoarc, already de- 
scribed in the previous part of these notes, but con- 
taining many valuable illustrations of ornamental, 
domestic, and warlike implements, which add to the 
knowledge which will be obtained by a perusal of that 
work of which this was the precursor. 


249 


brooch, and were most probably executed about 
this period, were drawn by me from the originals 
in the collection of the Royal Irish Academy, 
and have never before been engraved. 



Their shoes are represented of various colours 
opon the tapestry ; we find them yellow, blue, 
green, and red ; they wear also short boots 
reaching above the ancle, with a plain band 
round their tops. 

The male costume is, throughout the tapestry, 
similar to that worn by the figures to the left of 
Harold in the cut of his coronation before alluded 
to, and which in fact varied but little from that 
of the Saxons. 

There was, however, one striking peculiarity 
in the Normans who came with William, and that 
was the singular fashion of shaving the back of the 
head as well as the entire face. It w as so great a 
novelty, that the spies sent by Harold to recon- 
noitre the camp of William declared they had 
seen no soldiers, but an army of priests. 

44 One of the English who had seen 
The Normans all shaven and shorn. 

Thought they were all priests. 

And could chaunt Masses; 

For all were shaven and shorn, 

Not having moustachios left. 

This he told to Harold, that the duke 

Had far more priests 

Than knights, or other troops.” 

Such are the words in which this incident is 
described by Wace, the Anglo-Norman poet of 
the twelfth century, and the historian of the Dukes 
of Normandy and their descendants. 



The engraving here given of two mounted 
soldiers from the Bayeux Tapestry shows this 
fashion very clearly ; the central tufts of hair 
are sometimes covered by a close coif, or cap, 
which passes over the centre of the head from the 
tip of each ear, and leaves the back quite bare of 
covering for the purpose of displaying this 
fashion the more fully. Mr. Planch£, in his 
44 History of British Costume,” says that this 
fashion was adopted from the nobles of Aquitaine, j 
who had been distinguished by this extraordinary | 
practice for many years previous to the Conquest ; 
and who had spread the fashion after the marriage 
of Constance, Princess of Poitou, with Robert, 
King of France in 997, by following her to Paris 
and there exhibiting themselves thus shorn ; their 
general manners being, according to contemporary 
authority, distinguished by conceited levity, that 


Digitized by * 


250 


and their dress being equally fantastic. But 
fashion, who can invent nothing too ugly or too 
absurd for her votaries to adopt and defend, and 
whose sway is as blindly submitted to in our own 
day as it was by “ exquisites” in that of William 
of Normandy, spread these absurdities amazing- 
ly ; much to the annoyance of the clergy, who 
| lamented over the changes they could not avert, 

, and the simple honesty of the “ good old times” of 
their forefathers, with as much zest as the writers 
of a later period, when talking of this visionary 
era — a golden age that existed only in imagination. 

Once established in England, and revelling in 
the riches their rapine procured from its un- 
happy inhabitants, the courtiers of the Con- 
queror gave way to their ostentatious love of 
finery, which increased during his reign, and in 
that of Rufus arrived at its height ; producing a 
total change in the appearance of the people. 
The King having set the example, of course the 
courtiers followed it; and the clergy are de- 
clared to have been equally distinguished with 
them for their love of dresses both whimsical and 
expensive. Not content with the amount of 
ornament their dresses could contain, they sought J 
extra display by enlarging them to the utmost ; j 
allowing their garments to trail upon the ground, 
and widening their sleeves until they hung, not 
only over the hand entirely, but several inches 
beyond it, and falling to the middle of the leg 
when their arms descended. One of the royal 
figures here engraved from Cotton MS., Nero 
C. 4, exhibits these sleeves very clearly. In the 



original this group is intended to represent the 
three Magi. The figure to the left shows another 
kind of sleeve frequently seen in the illuminations 
of this period, and which looks like a very broad 
cuff turned over from the wrist ; it is generally 
gilt in the delineations where it is met with, and 
widens as it reaches the elbow, towards which it 
tapers to a point projecting from the arm. The 
mantle of this figure is tucked under the arm to 
prevent inconvenience from its length in walking. 
These mantles were made from the finest cloths 
and lined with costly furs; and Henry I. is said, 
by the historians, to have had one presented to 
him by the Bishop of Lincoln that cost £100. 

The length of their garments and the love of 
amplitude that characterized the fashionables of 
this period, induced them to discard the close 
shaving they had introduced at the conquest, and 
to allow their hair and beards to vie with their 
apparel in length and inconvenience, and which 
extorted from the clergy the title of “filthy 
goats,” which they applied to its wearers. The 
cut of the Magi will show the fashion very clearly 
(as also will some others a little further on) ; their 
beards are carefully combed, and the mous- 
tachios are allowed to hang to considerable length 
over it in single well-formed locks. 

The earliest sculptured effigies of English 
sovereigns we possess are those of Henry I. and 
his Queen Matilda, at the sides of the great west 
door of Rochester Cathedral, and of which the 


THE ART-UNION. 


above engraving is a copy. They are much muti- 
lated ; this may have been the work of Crom- 
well's soldiers, who committed so many acts of 
similar wanton mischief in other of our cathe- 
drals, but in no one more so than in Rochester.* 
The King is in the flowing dress of the period : a 
long tunic lies in folds over his feet, and it appears 
to be open in front — it is partially covered by the 
dalmatic or upper tunic, which is gathered round 
the waist, but no girdle is visible ; a long mantle 
lies in folds over his left arm, and is partially 
tucked beneath his right hand, in which he holds 
a sceptre ; a small model of a cathedral (intended 
for Rochester, which he nearly built) is in his 
other hand. The crown is much damaged, but 
appears to have been very simple in its orna- 
ments. His beard is trimmed round, but his 
hair is allowed to flow' in carefully-twisted ring- 
lets upon his shoulders, and is apparently hang- 
ing luxuriantly over his back. 

A singular dream, which happened to this 
monarch when passing over to Normandy in 
1130, has been depicted in a manuscript of 
Florence of Worcester, in Corpus Chrisli College, 
Oxford. The rapacity and oppressive taxation of 
his government, and the reflection forced on him 
by his own unpopular measures, may have origi- 
nated the vision. He imagined himself to have 
been visited by the representatives of the three 
most important grades of society— the husband- 
men, the knights, and the clergy ; who gathered 
round his bed and so fearfully menaced him, that 
he awoke in great alarm, and, seizing his sword, 
loudly called for his attendants. The drawings 
that accompany this narrative, and represent 
each of these visions, appear to have been exe- 
cuted shortly afterwards, and are valuable illus- 
trations of the general costume of the period — 
one of them is introduced in the next column. 

The King is seen sleeping ; while behind him 
stand three husbandmen, one carrying a scythe, 
another a pitchfork, and the third a shovel. 
They are each dressed in simple tunics with plain 
close-fitting sleeves ; the central one has a 
mantle fastened by a plain brooch, leaving the 
right arm free. The beards of two of these 
figures are as ample as those of their lords, this 
being au article oi fashionable indulgence within 
their means. The one with the scythe wears a 
hat not uulike the felt hat still worn by his 
descendants in the s ame grade : the scroll in his 

* The buff-coats and bandeliers of some of them yet 
remain there; and it would be well if these were the 
| only mementoes of their visit, for, daring that period, 
the stained glass windows were destroyed, and the 
monuments battered in the most reckless manner. 


[Nov., 


left hand is merely placed there to contain the 
words he is supposed to utter to the King. 



Such then was the costume of the poorest Of 
the commonalty ; ascending a slight degree in th e 
scale of life, we shall find an increase in the orna_ 
mental details of dress. The figures here en„ 



graved give us the ordinary costume of the peo- 
ple during the reigns of Rufus, Henry I. f and 
Stephen. The youngest figure (intended for 
David with his sling, in the original delineation) 
is habited in a long tunic reaching nearly to the : 
ankles ; it is red, with a white lining, and has a 
collar gilt in the original, as also are the enfls ; It 
is bordered with a simple ornament, and is open 
on the left side from the waist downward, a 
fashion that appears to have been very common ! 
at this period. He has tightly-fitting chauss£s, 
and high boots with ornamented tops. The 
figure beside him (who represents, in the origi- 
nal MS., Noah with his hatchet about to build 
the Ark) wears a hat similar to the Anglo-Saxon j 
helmet in shape ;* a moustache and beard of 
moderate proportions ; a very long full red tunic j 
with hanging sleeves, over which is thrown a 
green mantle bordered with gold. His tnnic is 
open from the side, displaying what appears to 
be a stocking, that reaches to the knee, and is 
certainly much the earliest representation of that 
article of apparel yet noticed ; his shoes are or- 
namented by diagonal lines crossing each other, 
and complete what may be considered as a fair 
sample of the ordinary costume of the age. 





Digitized by ^oogie 


1842 .] 


THE ART-UNION, 


251 


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We have here the common travelling dress in 
use at this period. The original is intended for 
the Saviour meeting the two disciples on the road 
to Emmaus. The dress worn by the Saviour 
varies but little from that of Noah in the last 
cut, except that he wears an under tunic, and his 
mantle, fastened by a narrow band across the 
chest, is held up by the right hand. The figures 
of the disciples are, however, the most curious, 
the central one particularly so, as he would seem 
to wear a dress expressly invented for travelling : 
his large round hat, with its wide brim, seems 
to be the original of the pilgrim’s hat so well 
known in later times, and which formed so 
distinguishing a mark in their costume ; and his 
short green tunic, well adapted for journeying, 
is protected by a capacious mantle of skin, and 
provided with a “ capa” or cowl, to draw over 
the head, and which frequently was used in lieu 
of a hat. His legs are covered with a white 
stocking, ornamented with red cross stripes, 
which gives it the look of a modern Highland 
one; they end, however, at the ankle, where they 
are secured by a band or garter, the foot being 
covered by close shoes. His companion wears 
the common cap so frequently met with ; and he 
has his face ornamented to profusion by mous- 
tache and beard, each lock of which appears to 
be most carefully separated and arranged in the 
nicest order. He has an under tunic of white, 
and an upper one of red, and a white mantle 
bordered with gold ; he also wears the same kind 
of stocking to the ankle, but he has no shoes: 
this frequently appears to be the case when the 
leg is thus covered, and the wearer is about a 
journey. A selection has been made from the 
MS. that has supplied us with these examples 
— Cotton collection, Nero C. 4* — and which ex- 
hibits nearly all the varieties to be met with. 

12 3 



Fig. 1 is a curious swathing for the lower part of 
the leg, above the shoes, that is worn by the shep- 
herds at the nativity of the Saviour; it looks very 
like the hay-bands of a modern carter, f Fig. 2 
are a pair of the richly-ornamented shoes before 
referred to as frequently worn by the richer classes. 
Fig. 3 is a sock or half-boot, also ornamented 
round the top. Fig. 4, a shoe ornamented by 
lines crossing each other diagonally. Fig. 5 
shows one of the footless stockings, with the 
band securing it round the ankle ; and Fig. 7 a 
boot, the top of which is cut much like the cuffs 
upon the royal figures, and others before engraved 
and described ; from the ankle upwards it is or- 
namented with red cross-bars. 

From the feet let us ascend to the head, and 
consider the usual coverings worn there. Fig. 1 
gives us the flat close cap ; and also displays to 
much advantage the mode of dressing the beard. 
Fig. 2 has the common round skull cap. Fig. 3 
wears one of a Phrygian shape ; and Fig. 4 has 
the cowl, as usually worn over the head. These 
and the full length figures given before comprise 
nearly every variety worn. (See next col.) 

* A manuscript which contains a series of drawings 
of scriptural subjects, which are of much value for the 
accurate delineations given by the ancient designer of 
the costume of his own age, in which be has clothed 
ail the figures. 

t Some writers, indeed, affirm that the practice of 
ehswathing the legs with hay-bands was the origin of 
the cross-gartering, so fashionable among the Saxons 
and Normans. 



During this period the ladies gradually merged 
from the simplicity of the Anglo-Saxon costume 
into all the extravagance of shape and material 
revelled in by the gentlemen. The alteration 
appears to have commenced in the sleeves ; and 
the figure to the left in the following cut depicts 
this alteration. The long narrow sleeve sud- 



about a yard in length. All the other parts of 
the dress are precisely similar to that worn by 
the Saxon ladies, and described in the first part of 
these notes. They appear to have gradually grown 
longer and wider, and are sometimes tied up in 
knots. They are generally of a different colour 
from the rest of the dress. Their gowns also, like 
the tunics of the gentlemen, are excessively ample, 
and lie in folds about their feet, or trail their 
length behind them ; these were also sometimes 
tied up in knots, and the symmetry of the waist 
was preserved by lacing, in the manner of the 
modern stays. The illuminator of the MS., from 
which we have so frequently copied (Cotton col- 
lection, Nero C. 4), in the representation of 
Christ’s temptation, has satirically dressed his 
infernal majesty in the full costume of a fashion- 
able lady of this period. His waist is most 
charmingly slender, and its shape admirably 
preserved by tight lacing from thence upwards ; 
the ornamental tag depending from the last hole 
of the bodice. His long sleeves are knotted on 
his arm ; and his gown, open from the right hip 
downward, is gathered in a knot at his feet. It 
is an early instance of a fondness for caricature, 
which was indulged in occasionally by ancient 
illuminators. 

But the hair of the ladies was indeed “ a glory 
unto them,” for they far outdid the doings of their 
lords, extravagant as they were in this particular. 
They wore it in lung plaits that reached some- 
times to their feet. The effigy of Queen Matilda, 
at Rochester, presents us with an excellent exam- 
ple of this fashion ; it descends in two large 
plaits to the hips, and terminates in small locks. 
These treasured ornaments were bound with rib- 


bons occasionally, and were sometimes encased 
in silk coverings of variegated colours. The lady 
to the right in the last cut is represented as 
wearing one of these ornamental cases, which 
reaches to her feet and ends in tassels. 



The ecclesiastical costume of this period is 
chiefly remarkable for the increase of ornament 
adopted by the superior clergy, and which called 
forth the strongest animadversions from the 
more rigid precisians of their own class. Sump- 
tuary laws were made and partially enforced ; for 
both now and afterwards it was found much easier 
to make the laws restraining excess in apparel than 
to enforce the rich to keep them. The cut ex- 
hibits the costume of a bishop and an abbot : the 
former of whom is arrayed in a chasuble, richly 
bordered, apparently with jewels ; his dalmatic* 
varies from that worn by the Anglo-Saxon pre- 
lates in being open at the sides — it is very richly 
ornamented. The first approach to a mitre is 
visible , in the cap that covers his head, from 
which hang the pendant bands called the vitt®, 
or insul®, which always appear upon mitres, and 
frequently upon crowns.f The adjoining figure 
is more plainly habited, a novelty appearing in 
the upper part of his dress, the sort of ornamen- 
tal collar which falls from the neck oyer the 
shoulders ; one very similar is also seen upon the 
figure of Roger, Bishop of Sarum, who died 
| 1193, and which is now in Salisbury Cathedral ; 
it has been engraved in Britton’s History of 
the Cathedral, and forms the first plate in Sto- 
thard’s 11 Monumental Effigies.” 

Among the military of this period, a most im- 
portant body were the Archere, who did the 
Conqueror invaluable service at Hastings, and 
made the bow for many centuries the chief 
strength of the English lines. Its practice was 
greatly encouraged ; and Henry I. made a law, 
to the effect that no archer should be punished 
for murder, or charged with it, who had acci- 
dentally killed any person while practising with 
his weapon. The following engraving represents 
four of these archers from the Bayeux Tapestry, 
and it scarcely need be mentioned that they are 
fac- similes of the original, where they are placed 
above each other, although they are intended to 
be side by side. Two of them are dressed nearly 
alike, in a close vest, with wide breeches to the 
knee ; another has full breeches, apparently 
gathered in the middle of the thigh and at the 
knee, and ornamented with large red spots ; the 
fourth is more fully armed, he wears the steel 
cap, with its protecting nasal, and a close- 
fitting dress to the knee of ringed mail, formed 
by sewiug metal rings upon leather or cloth. 
The quiver is suspended from the waist, or else 


* These articles of priestly costume were fully de- 
scribed in part the first of these notes, to which we beg 
t o refer the reader. 

t It has been supposed that they were originally 
used for fastening them beneath the chin. The crown 
on the Great Seal of Henry I. shows these appendages 
very plainly; and a story is told of Ralph, Archbishop 
of Canterbury, who snatched the crown from the head 
of this king and broke the ansulff, or clasp, which 
fixed it upon the head. 


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THE ART-UNION, 


[Nov., 



from the shoulder, from whence arrows are taken 
as wanted, although one of these soldiers holds 
in his left hand several ready for shooting.* 



The ordinary costume of the Borman soldiers 
is here given from the same tapestry. The mili- 
tary tunic, cr hauberk, “ which was of German 
origin,” says Merrick, “ was probably so entitled 
from ‘ hauen,’ to hew or cut, and * ** berg,’ a de- 
fence ; that is, a protection against cuts or stabs. 
It fitted the body pretty closely, being slit a 
little way up in the centre both before and be- 
hind, for the convenience of riding ; although, 
occasionally, it appears to have ended in close- 
fitting trousers to the knee, like the body ar- 
mour of this period. It appears to have been 
put on by first drawing it on the thighs, where 
it sit s wide, and then putting the arms into the 
sleeves, which hang loosely, reaching not much 
below the elbow, as was the case with the Saxon 
fiat-ringed tunic. The hood attached to it was 
then brought up over the head, and the opening 
on the chest covered by a square piece, through 
which were passed straps that fastened behind 
with tasselled terminations, as did also the strap 
which drew the hood, or ‘ capuchon,’ as it was 
called, tight round the forehead.” Mr. Planch c 
contends for “ the evident impossibility of get- 
ting into a garment so made,” of tunic and 
trousers in one ; but so many examples occur of 
close-fitting trwosers of mail reaching to the 
knee, and which are too distinctly delineated to 
be considered as merely bad drawing, or an im- 
perfect representation of the opening in the long 
tunic, that it certainly appears to have been 
thus worn, and may have been divided at the 

* These figures have beemnodernised in Meyrick’s 

** Critical Inquiry into Ancient Arms and Armour,” 
vol. i., pi. 8. 


waist. The hood of mail is seen in the figure to 
the right in the preceding cut as covering the 
head, and the conical helmet is placed over it. The 
wide sleeves of the hauberk reach to the elbow only, 
and are covered with rings, but the body of this 
defence appears to be composed of the kind of 
armour termed “ trellised ” by Meyrick, which was 
formed of straps of leather fastened on the body 
of quilted cloth, and crossing each other diagon- 
ally, leaving angular spaces in the centre, where 
knobs of steel were placed as an additional pro- 
tection. His legs are also protected by ringed 
mail. He holds in his hand a gonfanon, the 
term applied to the lance, to which was appended 
a small flag or streamer, and which was gene- 
rally carried by the principal men in the army, to 
render themselves more conspicuous to their fol- 
lowers, as well as to terrify the horses of their ad- 
versaries ; hence it became a mark of dignity, 
and the bearing of the royal one was only en- 
trusted to certain great and noble persons.* 

The other warrior is more fully armed : he has 
a sword, an axe, and a spear, the latter of which 
he is about to strike with. The axe continued in 
use long after this period. Stephen fought with 
his battle-axe at the siege of Lincoln, in 1141, 
until it snapped within his grasp. The long 
pointed shield, borne by this flgnre, has been 
termed by antiquaries “ heater-shaped ” and 
“ kite-shaped,” from its resemblance to both 
these articles. Various Sicilian bronzes exist, 
the figures holding similar shields, and it was 
from this people they were assumed. They 
were held by a strap in the centre. 



The figures here given ore of a later date, pro- 
bably of the time of Henry I. or Stephen. They 
occur in Cotton MS., Nero C. 4. They wear the 
helmet, pointed forward, similar to the Anglo- 
Saxon ones before described ; and have protect- 
ing nasals. The shield held by the first of our 
figures is bowed so as to cover the body round ; 
the umbo projects considerably, and is of an 
ornamental character, ornamental bauds radiate 
from it, and it has a broad border. It is admira- 
bly adapted for defence of the body, and is of 
common occurrence, being sometimes large 
enough to reach the ground, on which its point 
rests. A sword is in the girdle, and three spear* 
are held in the right hand. The legs are unpro- 
tected, and high boots slightly ornamented cover 
the feet. The warrior beside him has a ringed 
hauberk opened wide at its sides, and through 
an opening at the waist the scabbard of his sword 
is stuck ; it is on the right side, as will perhaps 
be noticed, but it frequently occurs on that side 
as well as on the other. A long green tonic ap- 
pears beneath his hauberk, and he wears white 
boots. 


* The banner of the Conqueror bad been presented 
to him by the Pope, who had given the expedition hit 
blessing. Wace soys, that under one of the jewels with 
which it wna ornamented was placed a hair of Sr. 
Peter. It is represented on the tapestry as a simple 
square banner, bearing upon it a cross or, in abordure 
i asure. 



This figure is copied from one in Cotton MS., 
Caligula A. 7, and exhibits the mascled armour 
of this era. These muscles were lozenge- shaped 
plates of metal, fastened on the hauberk by a 
hole at one corner ; and they were so worked 
one over the other that no openings were left be- 
tween them. The soldier here engraved has a 
tall round conical cap, with a nasal, to which his 
hood of mail is affixed ; and this was the com- 
mencement of a protection for the face, which af- 
terwards became so much more complete. Little 
more than the eyes of the figure are visible, and 
the neck seems protected by a sort of tippet of 
mail connected with the hood, which ompletely 
envelopes the head, passing under the helmet. 
The legs are also incased, and he has the long- 
pointed toe, that became fashionable at this time, 
and which came into use during the reign of 
Rufus : they were strictly forbidden to be worn by 
the clergy, as too foppish ; shoes were worn at 
this period with toes of great length, and stuffed 
with tow till they curled like a ram’s horn. The 
shoes of horsemen generally curve downwards, . 
and William of MaUnsbury says, that they were 1 
invented by Rufus to keep the toes from slipping ' 
from the stirrup. Such shoes are worn by 
Richard, constable of Chester, in the reign oif 
Stephen, whose mounted figure is here copied 1 
from his seal in the “ Vetusta Monumenta” of 1 
the Societies of Antiquaries. 



He wears a novel kind of armour, called by 
Meyrick “ tegulated,” and formed of little square 
plates, covering each other in the manner of tiles, 
and sewn upon a hauberk without sleeves or 
hood. He wears a tall conical helmet without a 
nasal, the fashion having probably been discon- 
tinued from the inconvenient hold It afforded the 
enemy of the wearer in battle— Stephen, at the 
siege of Lincoln, having been seized by the 
helmet and detained a prisoner ; and this may 
probably have led to its discontinuance, and the 
unprotected state of the face then, have occa- 
sioned the invention of the close fgee-guards soon 
afterwards in common use. The long pendant 


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253 


sleeves of the knight, and his flowing tunic 
reaching below his heels, was a Frankish fashion 
of oriental origin. He bears a small shield and 
a banner. He was standard-bearer of England 
in 1140. A very good coloured engraving, de- 
signed from this seal, may be seen in the first 
volume of Meyrick ’s 44 Critical Inquiry into 
Ancient Arms and Armour,” plate 12. 

Two other kinds of armour were also in use at 
this period. Scale-armour, derived from the 
ancient Dacians and Sarmatians, who may be 
seen thus protected in Hope’s admirable “ Cos- 
tume of the Ancients.” It was formed of a series 
of overlapping scales similar to those of fish 
(from whence the idea was evidently taken), 
which were formed of leather or metal. The 
great seal of Rufus represents that monarch thus 
habited. The other kind is termed by Meyrick 
“ rustred armour,” and consisted of rows of rings 
placed fiat over each other, so that two of the 
upper row partially covered one in that below, 
and thus filled up all interstices, wldle free motion 
was obtained for the wearer. 

[The next part will be devoted to the costume worn in 
England during the reign of the Plantagenets, and will 
carry ns down to the death of Richard II. A new fund 
of information will now present itself in the monu- 
mental effigies of this period, which will be abundantly 
referred to ; and, in order to enter fully into this rich 
field, an extra month will be devoted to research. The 
third part will appear on the 1st of January.] 

A letter has been placed in my hands by the Editor 
of the Art-Union, which has been called forth by a 
remark made in the first part of these notes, on the 
Highland target, and its similarity to the ancient Bri- 
tish shield. It contains some interesting information 
on this subject, and runs thus 

October 90. 

Sir,— In the Art-Union of last month, Mr. Fair- 
holt, in his “ Notes on British Costume,” implies that 
the Highlanders have copied the Roman fashion of 
wearing the target, retaining the boss of the Celtic 
shield as an ornament only. On the contrary, it is of the 
greatest use, being the foundation in which the spike is 
fixed, sometimes screwed— thus rendering the High- 
land target an invaluable weapon, whether for defence or 
offence. I have one in my possession, with a dirk- 
blade a foot long screwed in the boss. I assure you, 
Mr. Editor, 19 inches of Spanish steel, on a strong left- 
arm, is by no means an ornament only— it would hurt 
considerably ; this was the ornament with which Gillies 
Macbane, Major of the clan Macintosh, killed three ; 
Basse nachs at the massacre of Culloden after bis sword- 
arm was broken. Neither are the “brass-nails” 
intended as imitations of the “ little knobs being 
used to fasten the leather, hide, or plates of metal to 
the wood beneath, as well as to render the surface 
impenetrable to a sword-cut. The swash-bucklers of 
Queen Elizabeth’s time used shields with one wooden 
handle fixed in the concavity of the boss. 

Yours, &c., Mac. Nan. Claimh. 

Now, the fact of the matter is that the remark is i 
not my own : it comes from a much higher quarter, 
and has passed unquestioned for years. It was first 
made by Sir S. R. Meyrick in the twenty-third volume 
of the “ Archsologia of the Society of Antiquaries,” 
when describing a shield precisely similar in construc- 
tion. It is repeated in the text to his “ Engraved Illus- 
trations of Ancient Arras and Armours,” in Mr. 
Planches “ History of British Costume,” and else- j 
where. On looking at that shield and the one en- i 
graved in the Art-Union, certainly a strong resem- 
blance is visible between those and the Highland one, 
enongh to incline us to think-it a general imitation, 
modified by time, circumstance, and experience. The 
use and construction of the modern Highland shield 
has, however, been very clearly pointed out by the 
writer of the above letter, and coming, as it evidently 
does, from a Scotsman well acquainted with the sub- 
ject, it is valuable, more particularly as the costume 
of the Highlauder has been so vaguely descanted upon, 
and so many conflicting statements made, that any- 
thing bearing the stamp of truth is particularly accept- 
able ; and I am glad of the power thus given me of cor- 
recting the erroneous impression that has so long 
passeu current on this one subject. And, in conclusion, 

I beg to assure my correspondent, that the greater 
share of time and trouble in getting together these 
notes has been devoted to endeavouring to reconcile 
contradictory statements, ascertain the truthfulness of 
quoted authorities, and so make deductions from fact 
a lone. Those only who have waded for days through 
y olumes, with little or nothing to show for the day's 
1 abour, can fully appreciate the mental annoyance of 
t he task. F. W. F. 


THE SUBJECT OF ANCIENT GROUNDS* 

It may be expected that the more immediate 
pupils of Van Eyck, as Rogier Van Brugge and 
others mentioned by Van Mander and Sanaraart, 
would adopt the style and manner of their master; 
there is, in fact, reason to believe that such was the 
fact. In like manner we may believe that Antonello 
da Messina would carry the same principles, after 
the death of his master, to Venice, where, on hie 
second arrival , he sold the secret he had learned of 
Van Eyck, and when also the state granted him a 
pension, which probably he enjoyed till his death ; 
though of this his biographer is silent. Would it 
not be worthy of the consideration of the members 
of our Royal Academy, to send some person, duly 
authorized and properly qualified, to Venice to 
examine the archives of that city for ancient MS. 
documents, which civil wars and other calamities 
have spared from destruction. 

DePiles states, that early in the sixteenth century, 
Giovanni Bellino laid the foundation of the Vene- 
tion school, by the use of oil : his pictures are on 
a white ground. He died about the year 1516. 
Titian was his pupil ; and M. Merimee has proved 
that in one instance he found the ground of Titian’s 
picture to be composed of gypsum, starch, and 
paste : therefore Titian also used the white ground 
of his master. Vasari was the friend of Titian ; 
let us see, therefore, what ground he recommends. 
He directs that it should be composed of white 
lead , flour , and nut oil ; and so particular is he 
lest the purity of a white ground should be tainted, 
that he objects even to tne use of linseed oil, be- 
cause the nut oil, “ ingiallameno is less liable to 
become yellow. We may, therefore, consider that 
in the best days qf Art , white grounds were deemed 
to be a sine qu&non. 

We must, however, admit evidence on the other 
side ; and certainly Vasari does speak elsewhere of 
coloured grounds, such as a mixture of white and 
Naples yellow, &c. ; but it must be recollected 
towards the latter period of his life, the palmy days 
of Art having then passed away, the influence of the 
Tenebrosi were beginning to be felt, and he assu- 
redly did not oppose to this growing influence, either 
by precept or example, the means at his command, 


and which might have been expected of a man of 
his capacity of mind. It would have been worthy 
of his genius, and it might then have been effectual. 
Titian’s quarrel before this period with Paris Bor- 
done and Tintoretto, whom he banished from his 
studio, prepared the way for many injudicious 
changes in tne practice of these masters, and in the j 
preparation of colours and of grounds generally. 
With respect to colours, each was striving to obtain 
the brightest ; as if merit could be judged of alone 
by colour : thus, as De Piles informs us, the head 
of the Venitian school grew dissatisfied with the 
white-lead of the shops; and that to obtain the 
brightness of that of the old distemper painters, he 
prepared the pigment according to their method, 

{. e. with size. But he adds, the labours which 
attended this process soon disgusted Titian, and he 
laid it aside. 

Lanzi informs us that Tintoretto departed from 
the practice of Titian, of painting on white grounds : 

44 Vario anche il metodo di Tiziano nel colorire, 
servendosi (V imprimatur non piii bianche t e di 
gesso, mascure; percui le sue opere in Venezia 
nan p&tito piu che le altre.” We are also told by 
the same writer, that the pupils of Paul Veronese 
varied the grounds of their master, which were 
white, and that they deviated also from his way of 
colouring. Yet the pictures of this master 44 glow 
with the grace which he so well knew how to shed 
over them.’ 4 I must refer the reader for further 
information upon this subject to the elegant lectures 
of Sir Joshua Reynolds, than which for their extent 
there is no work in the English language upon 
Art which has superior or perhaps equal merits. 

To so great a height did the spirit of rivalry and 
hostility between Titian and the other artists of his 
time arrive, that Giovanni da Pordenone,t fearing 
to be insulted by his rival (Titian), worked with a 
sword by his side, and a buckler tied about him, as 
was the fashion, says de Piles, with the bravoesof that 
day ; and literally in this costume did he paint the 
4 Cloisters of St. Stephen, at Venice. ’ Apart from all 
consideration of the bad moral effect arising out of 
these quarrels, a door was opened for a general cor- 

* Continued and concluded from page 980. 

t See De Piles. 


ruption of taste, and for the loss of the oral tradition* 
of the studio, which followed on the death of Titian* 
Indeed at so low an ebb had respect for the art 
reached, that Paul IV. commanded one of the fres- 
coes by Raffaelle in the Vatican to be destroyed ! 
Thus it ever is with Art and the other accessories 
of civilization : perfection once reached, the down- 
ward flight commences. The seeds of the bright- 
est flower and of the most noxious weed are bed- 
ded or found scattered in the same soil— there they 
germinate , and if both be suffered to grow together, 
the glories and the sweetness of the more tender plant 
will dwindle and decay. 44 Ogni scuola, per quanto 
vanti gran fondatore, a poco a poco va mfievolen- 
dosi ; e ha besogno a tratto a tratto di essere 
solevata.” 

i In the unfortunate days which I am now about 
; to describe, there arose a new race of professors of 
Art, who suddenly usurped the loftiest places in the 
Italian schools, and appropriated their emoluments 
to private uses. Governed by no moral laws or 
human sympathies, insensible alike to persuasion 
' and remonstrance, they overspread the land like 
the devouring locust , whose approach is not perceived 
till the whole earth is laid waste and desolated. 

| This was the sect of the Tenebrosi , as Boschini 
styles them in his Carta del Navegar. Their grand 
nucleus was the city of. Naples — where, fostered 
by a weak and pusillanimous Government, they had 
ample opportunities thoroughly to organize and 
systematically arrange their future plans. This 
junta was at this time ruled by Bellisario, and his 
associates, men for the most part of desperate 
and infamous characters. But to write a history of 
this dark sect would be equivalent to a secret his- 
tory of Italy entire ! a work requiring immense 
labour and research, and far greater talent than I 
possess. I will, then, but pass cautiously over the 
surface of a troubled ocean, which I trust some more 
talented inquirer will fathom and explore. I offer 
no apology, therefore, for depurting from all me- 
thod and chonological order, und confining myself 
exclusively to the subject under discussion, pro- 
ceed to the question of dark grounds. 

Zanetti is of opinion, that Pietro Ricchi intro- 
duced the oily and obscure method of painting of 
the Tenebrosi into Venice. But as neither this 
author or Lemazzo furnish us with a date, we are 
at a loss to fix the period. We are however, toldliy 
the observant and acute Lanzi, that the pictures of 
RutilioManetti are easilydistinguishable at Siena,bv 
invariably partaking of a certain sombre hue, which 
destroys the due balance of light and of shadow : — 
Simil eccezione ban molti de’ suoi coetanei, como 
awerto quas } in ogni scuola. II metodo dipurgare 
i colore e di far le mestiche era guasto.” This Ru- 
tilio Manetti was born in 1571, somewhat later than 
the period pointed out by Boschini, wherefore, it 
is highly probable that tne sombre style spoken of 
may nave found favour in some of the schools at a 
considerably earlier date. Viewing the matter with 
the impartiality which is produced by time and 
removal from the scenes where party spirit sq long 
prevailed, I think we may fix upon the year 1550, 
as that in which the Tenebrosi began their existence ; 
and that it originated with Tintoretto. The prin- 
ciples of that sect were afterwards more completely 
developed by P. da Caravaggio, and assuredly its 
doctrines were promulgated by the partisans of 
Spagnolitto. 

No one can doubt that Tintoretto was a man of 
vast genius— quick to invent, impetuous to execute : 
in the mechanical operations of the art, without, 
perhaps, an equal in his day. Capable of extra- 
ordinary efforts, and inspired by a true ambition, 
he bade fair to rival Titian, and to snatch from his 
brows the laurels which be had earned. There 
was, however, in the character of Titian, a steadi- 
ness of purpose, of which his formidable rival was 
totally aeficent, as it eventually proved, though he 
showed no symptoms of the deficiency till after his 
career had been some time commenced. But it is 
a remark, founded on a close observance of man, 
tW diligence is seldom long the attendant upon 
" those who are more anxious to do much than to do 
well; or, as one of his biographers expresses it, 
44 La diligenza rare volte si occuppia alia smania di 
fin: molto ; vera sorgente in questo uomo e in mol- 
tissimi artifici del tar male, o almeno men bene.’ 4 
And Anibale Caracci, describing to a friend the 
pictures of Tintoretto, wrote, saying, that in many 
of them he could not recognise Tintoretto : 44 E 
Paul Veronese, che tan to ne ammirava il talento, 
fu solito a querelarsi ch' egli apportasse danno 


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a 1 professori col deping ere ad ogni maniera ; ch'era genius commands, and with the opposition of every da morte, affrettatagli o dal veleno, o almeno 
per appunto nn uestrugqero it concetto della pro- master of the period arrayed, and inciting the da'disgusti, che soffiriva gravisaimi e da parenti 
festrione.” — (Ridolfi.) In short, at this time he public with animosity, against them, we feel every e dagU emuli; la piena de’quali era ingrossata per 

laboured for profit, not for reputation; he in- nerve within us strained for the glorious la venuta de Lanfranco suo anticoawerserio.” 

vented (assisted therein by the fertility of his struggle ; and in imagination we follow the great Indeed, so vigilant were the rulers of the Tene- 

■ imagination) new methods for accomplishing his leader, persuaded, that however degenerate may brosi, and so vigorous at this time the execution of 
mercenary views ; he worked on dark oily grounds, be the age, however contemptible the state of Art, their mandates, that either poison or the knife . 
because they assisted him in the multiplication of and however degraded its followers, the invigo- effectually silenced opposition. In this state of I 
pictures, and on account of the price of colours rating principle does but slumber, and when called affairs, and when all was discord, the schools of I 
he painted with very little body. By these means, forth from its state of apathy, it will again become Italy were depredated upon by a set of mendicants, 
he fell so far behind Titian, that it became a matter active, and shiue forth with renewed powers, artists whose lives were passed in travelling from ‘ 
of astonishment that he should ever have been his striving with, controlling, and rising above, the city to city, in persecuting the denounced , in re- 
rival ; and more, that he should have so nearly ap- evil passions of men, removing the errors of a cor- peating everywhere the same sombre unimaginative 
proached him. He survived Titian only six years, rupted taste, and spreading abroad a true and pictures, and in propagating among the pupils the j 
out daring this interval, more even than before generous feeling for the Arts. These are privileges dismal and mind -subduing doctrines of the Tene- 
its commencement, he tainted the Venetian school not, indeed, easy of attainment, but they are such brosi : “ Servendosi d’imprimature scurissimo ed 
with many grievous corruptions, which after his as every Englishman may strive for, and which oleoso, cosa che quanto aiuta alia celerita, tanto | 
death were fomented and exaggerated by his pupils: every lover of his country, of his species, and of nuoce alia durevolezza.” Of this class were the 
44 Es propio di ogni scuola portare air excesso la civilization, must study to obtain. Zuccheri, the Peruzzini, and the Ricchi : “ II ! 

massima fondamentale del suo maestro.” In the days of the Caracci, however, the fashions regno della pittura era nella mano loro." It is 

Having thus traced to Titian as the cause, and of Art had so far changed, that it would have re- painful to dwell upon the events of this unhappy ' 
to Tintoretto the effect, of that vicious example quired the strength of a Hercules to thoroughly period, fraught as they were with the worst and the 
which promoted the establishment of the sect of cleanse the schools ; it will not then be surprising, most mischievous consequences to genuine Art ; I 
the Tenebrosi, I will now explain the principles if the dark grounds of the Tenebrosi infected the most of the pictures of this epoch faded even m the 
upon which those dark colourists proceeded. To noble school of Bologna. This may, perhaps, be life-time of the painter. But a few good and true 
study nature more minutely ; to depict her without imputed to the circumstance, that its founder, men of genius still remained; and when these, 
choice in the selection, in the forms and postures Lodovico, was more addicted to fresco than to oil convinced by sad experience of the errors in prac- 1 
most suitable to the production of sudden and painting, in the former of which styles white lead tice into which almost aU had fallen, resolved to 
startling effects qf light and shadow ; to make is inadmissible ; and thus, by a very natural train return to white grounds and pure colours , it was 
Caravaggio in his plebeian style their model , and of reasoning, excluding that pigment from his oil found that the methods of preparing them, after ao ) 
to paint, like him, on dark and oily grounds, pictures. The consequence has been, that his oil long an interval, were forgotten and altogether | 

These were the chief features of their doctrines, paintings have so much faded and changed in lost ! In this dilemma, from which there was no ! 

but there were others, which I shall presently de- colour, as scarcely to exhibit the tracings of a great one to relieve them, they resorted to a style which 

velop. As a natural consequence of the publi- master ; and it is by his frescos only that his merits had been adopted by Caravaggio for his frescoes, 

cation of these professional tenets, the venders of can now be judged of. and to which the term sgrafitti , or scratched work, 

colours took advantage of the occasion to sell im- It has fared very differently with the pictures of was applied. This consisted in preparing first a 
pure and badly-prepared pigments, and vehicles Domenichino and Guido Reni, the two test pupils very dark or black ground — sometimes the black i 
favourable only to despatch; and manufactured of the Caracci school. Guido predicted the dura- side of tanned leather, even ; and upon this to give 
grounds suitable also to the same purpose, and bility of his paintings, from his use of white lead ; an even coat of one colour, either pure white or 

composed of strong earthy bodies, dark, and pos- and this proves that there must have been great flesh tint ; and when dry, with the sharp point of 

sessed of absorbent and drying properties. Thus discussions at that time respecting the employment an iron instrument or graver, to scratch off as 
all things changed for the worse, even to the very of lead at all as a pigment. The pictures of this much of the upper white or flesh-coloured coat as 
grounds : “ Se ne da colpa al metodo delle impri- great master, in his best period, however, are in a would allow enough shade to show through from 
miture alterato in ogni luogo —per tutta Italia.” high state of preservation, and have fully justified the black ground, to produce the desired effects of 
And we are told, in reference to the pictures of his prediction. But Guido had another, and, alas, strong light and strong shadow : the only contrast ! 
these dark colourists, that they exhibited “un a very inferior style: he became addicted to gaming; to which the age aspired. This style was practised 
color tenebroso, che occupo allora e oggidi rende and, to supply means for the gratification of this in oils by Andrea Cossimo, Mortuo da Feltro, I 
poco meno che inutile molti quadri.” Thus Pado- odious vice, he exhausted his fine imagination, and and others. In fine, the tide of the dark ages of 
vanino, in his day accounted little if at all inferior growing worse and worse as his necessities in- Art was set in, and we are even now, in the middle 
to Titian, whose style he imitated successfully, has creased, he prostituted his great genius, and yield- of the nineteenth century and after a lapse of two 
shown by the darkening of his pictures and by the ing at length to the facilities of the age and to hundred years, but slowly recovering from the 
change in their tints, that he was associated with those afforded by dark grounds, he became a effects of the tenebrious pestilence! | 

the Tenebrosi. mannerist and a Tenebroso ; and not being pos- It may be asked why— if the old masters were \ 

But one of the most painful examples on record sessed of the prudence of Giordano, he — who had beset with so many difficulties at various periods, j 
is that of Giordano, who in his youth was so as- been honoured by aU the princes of Europe, from bad grounds and impure colours — any old | 
siduous in his professional studies, that he did not lauded by its poets and envied by professors— fell paintings should be preserved to our days ? The ' 
rest from his labour even to take his meals ; he into dishonour and degradation, and at last died in answer to the question is this ; that pictures may 
merely opened his mouth to receive food from his poverty and squalid wretchedness ! • be compared to children of wandering tribes : the 

father, who, with paternal solicitude, was ever Prior to the death of Guido, in 1656, his mind strong and the robust alone survive the casualties 
ready and on the watch, to satisfy these mute calls being then uncorrupted, and while hp was yet in by which they are so frequently assailed. And it 
of hunger. By such excessive study and appli- the height of his career, the dangerous principles is owing to these contingencies that the weak and 
cation, he acouired over his pencil so complete a of the Tenebrosi were, as has been shown, ex- puling offsprings of the Tenebrosi have gone to the 
mastery, that he obtained the name of “ II Fulmine tensively disseminated. The sect was at that time long repose from which they will never arise, 
della pittura/' Capable of imitating the style of ruled by Bellisario, Spagnoletto, and Caracciolo ; Peace to their manes ! 

the greatest masters of the preceding age with such and it was an essential doctrine with them to vilify I have been induced to lay bare many of the 
precision of colour and execution, as to deceive even and oppress all who opposed the advance of what details of this lamentable history (from which I 
his personal antagonists ; in the words of Palomino, may be rightly termed the black Art. They have purposely excluded most of its worst features) 

44 Imitando yaa Raffael, ya k Tiziano, a Tintoretto, obliged the Cav. d’Arpino, then engaged in a work in the full hope, that it may hold out a warning 
& Corego, y & qualquier, de los mos inminentes, in the Capella di S. Genaro, to take flight before to our own school and its professors against en- 
de suerte que es menester gran perspicacia para it was finished, and even pursued him to Rome, couragiug, either in themselves or others likely to 
distinguirlas capable also, by the force of whither he went for refuge and protection. The be influenced by their example, errors which, in 
genius alone, of dictating to every school of Italy completion of the work was then entrusted to their incipient state, might be accounted puerile 
and of Spain, he fell from his giddy height, and Guido, in the days of his rectitude ; but no sooner and insignificant, but which, as I have shown, will 
from his own good style, to follow the vulgar was it perceived by the Junta that he was inimical involve the most disastrous consequences. It is, 
manner of his first master, Caravaggio. The love to the principles of the Tenebrosi, than his ex- therefore, with no feeling of disrespect that I here 
of gain led this fine genius astray ; and perceiving, pulsion was determined upon ; and he accordingly appeal to them as honourable men — that, from the 

as Spagnoletto had already done, that the plebeian received a message, conveyed to him by two despe- columns of the Art-Union, I present to them my 

style attracted the most purchasers, he turned aside radoes in disguise, offering him the dternative of humble address : — 

from the path of fame which he had long and immediate departure out of the city or instant Gentlemen, — You are men of acknowledged 

patiently trodden, “al gusto Caravaggesco, che death! The successor to Guido in this obstructed talent and integrity, anxious to promote the hi- 
per la sua veritk, forza, effeto de luce, e d’ombra work was Domenichino, a man educated in the terests of Art and to encourage youthful genius, 
arresta la moltitudine piu che lo stilo ameno,” — school qf adversity, and whose integrity had with- Be careful then that no party spirit disturb your 
and by these means, though they enabled him to stood the severest trials. He was not one, there- councils or misdirect your decisions. That those 
die wealthy, he left behind him a tarnished and a fore, likely to succumb to the dark sect. Finding whom you may enrol in your list of members be 
worthless reputation. all their attempts to seduce him fail, they loaded distinguished alike for their professional and ! 

The ever memorable and successful efforts of the him with calumny, found means for adulterating general acquirements, for their diligence and for 

Caracci in Bologna, to arrest for a time the pro- his colours, of mixing ashes with his grounds, their moral virtues. Assume no privileges to which 

gress of decay, and to check the prevailing maxims and, by a succession of the most wanton annoy- as academicians you may be entitled, if they are 

of the Tenebrosi, subsequently to the plague which ances, they drove this great man from Naples, proved to be injurious to your unelected brethren. < 
carried to the grave so many good artists, and left But whithersover he went, he offered a determined In the admission of pictures to your annual exhi- 
others in a state of superannuation, is above all and uncompromising opposition to the Tenebrosi, bitions, let merit be the rule, character the esreep- 
praise. Their example fills us with animation; to whose malevolence he at length, it was said, tion. Open your studies to the youn$ and the 
and when we review the history of that one family, fell a victim, by having had poison administered industrious; and communicate instruction freely, 
without money, without influence, beyond what to him, of which he died, in 1641. “ Fu sorpresa and, to the profession, gratuitously. Inspect the j 

| 

Digitized by VjOOQ^ 


1842 .] 


THE ART- UNION. 


prepared canvasses and panels, as well as pigments 
and vehicles, ou sale by the colourmen, and recom- 
mend such only as can be conscientiously approved | 
of. Be just in the distribution of your rewards, 
and earnest in the discharge of all your public 
duties. 

If you be animated by these principles, if you bo 
united for mutual protection and mutual encou- 
ragement, and if you promote to the utmost in 
your power your country’s glory and reputation, 
then you will be encouraged and protected by its 
Gevernment, and obtain extensive patronage from 
the public. Thus will you be honoured and re- 
spected as the Margaritones and Cimabues of 
ancient days — the revivers and restorers of a lost 
Art ; and thus will the rank of Royal Academician 
command for its possessor admittance to every 
society', and be a passport through every land ! 

After this digression I will state what I conceive 
to be the comparative merits of non-absorbent 
and absorbent grounds . It is evident that a 
ground of gold leaf, per se , must be non-absorbent, 
and such might be required in distemper painting. 
Now, the use of gold grounds declined in the 
fifteenth century ; Van Eyck lived in the beginning 
of that century : therefore, and as I before ob- 
served, gold grounds survived the distemper 
methods, and were in use after the discovery of 
oil-painting. Again, Agostino Calvi, who lived in 
1538, wa3 the first to lay aside gold grounds in 
Genoa. Therefore the use of gold grounds con- 
tinued 118 years after the discovery of Van Eyck. 

It brings us also near to the time of Titian’s and 
Tintoretto’s grounds, and consequently verges on 
the period when the latter commenced his experi- 
ments upon dark grounds. These dark grounds 
were absorbent : therefore, though the conclusion 
is not strictly logical, absorbent grounds were in- 
vented by the Tenebrosi. In support of this 
opinion, it may be stated that the grounds recom- 
mended by Da Vinci, the ground of Titian analyzed 
bv M. Merinice, and the grounds of Vasari, must 
aU be considered non-absorbent. Finally, the 
paintings upon polished stones, wherein the veins 
and other natural marks form parts of the subject 
painted, were done upon grounds absolutely non- 
absorbent. Have I not then established a case in 
favour of non-absorbent grounds, supported upon 
the authority of Vasari and others ? l will, how- 
ever, quote the oninion of a very sensible modern 
writer : * 4 The admirers of absorbent grounds say, 
that they make the colours more pure, by absorb- 
ing the oils in the vehicles with which the colours 
are tempered ; this may be granted, but we must 
inquire how much more oil, Ac., is required to 
make colours work on an absorbent ground, than 
on one which is not in the least degree absor- 
bent?”* 

But to make some further application of this 
subject to our own times and circumstances, I may 
observe, that in order to produce an absorbent 
ground, it is thought to be necessary to use animal 
size in the priming ; this gives a greasy texture to 
the cloths ; and m order to prevent the artist's 
colours from slipping off the surface, it is requi- 
site to add to the composition of the priming a cer- 
tain proportion of gritty matter , in order to give 
a tooth ; an excrescence, I believe, never contem- 
plated even by the Tenebrosi, though in other 
respects they seem to be alike : a strong argument 
for a change to something better. I regret to say 
that the grounds which most of our colourmen pre- 
pare are of the greasy, gritty, absorbent kind nere 
described ; and, to render them still more objec- 
tionable, they arc of a sickly light yellow-green 
colour. If in the preparation of the canvass com- 
mon size have been used, and it be painted upon 
while yet new, it will come through every tint and 
cover the picture surface with unsightly glue-co- 
loured yellow ; if the canvass be old it will crack ; 
if it be prepared, as is now the prevailing custom, 
with India-rubber, the priming will be kept flexi- 
ble, but will never harden. Something must, 
therefore, be done for artists ; and it were better 
to return to the grounds of Van Eyck, Titian, and 
Vasari : these are either of gold, or of pure white 
lead with paste, and starch, and oil. And I am 
happy to have it in my power to say, that such 
grounds are now prepared by Roberson, of Long 
Acre, Brown, of Holborn, Messrs. Ackermann, of 
the Strand, and Davy, of Rathbone-place, who 
have hereby proved themselves to be great bene- 
factors to artists and amateurs. 

* T. H. Fielding 4 * On Oil-Painting.” 


I have now brought my inquiry to a close : if, 
Sir, I have been prolix, it has been owing to my 
want of skill in composition ; if unintelligible, to 
my anxiety to place the subject in strong relief before 
the reader ; and if \ have gone into matters some- 
what irrelevant, it has been from an earnest desire 
to present to the mind pf the youthful aspirant after 
fame, a faithful and admonitory picture of all that, 

! through corrupt example and abuse of power, has 
in times past oefallen the art of painting : a know- 
ledge of which in these days of education is abso- 
lutely necessary, and of which it would be dis- 
graceful to remain ignorant. “ Nescire quid 
I antea qvam naius si* acciderit, id est semper esse 
puerum, quid enim est atas hominis, nisi memoria 
rerum nostramm cum superiorum estate con- 
texeril” 

Yours, See., A. 

ART IN CONTINENTAL STATES. 

ITALY. — Romp,. — The Egyptian Museum in 
the Vatican. — The treasures of the Egyptian Mu- 
seum, in the Vatican, are increased by a present 
sent by Mehemet Ali to the Pope. The gift is 
composed of 80 articles — mummies, tombs, vases, 
and bronzes of the highest importance. 

Loggie del Vaticano. — Many improvements 
have been made in the third floor of the Loggie 
del Vaticano, in order to restore and preserve the 
famous pictures by Giovanni da Udine, Danti, 
Pomarancio, Paul Brill, Ac. Professor Agricola 
directed all those operations with great satisfac- 
tion to the artists and connoisseurs. 

Venice. — Monument to Titian. — The muni- 
cipal council of Venice has given orders for a 
monument to 4 Tiziano Vecellio.’ 

Bologna. — Monument to F. Francia. — The 
municipal council of Bologna has also given orders 
for a monument to Francesco Francia. Professor 
Baruzzi will be the sculptor. 

FRANCE.— Paris.— Academy of Fine Arts. 
Annual Solemnity for the Distribution of Prizes. 
— We have in our last number given the names of 
the artists who have received the prizes in the 
competition of architecture, sculpture and en- 
gravings. Here are now the names of those who 
have received prizes in the School of Painting. 
Subject, 4 Samuel consecrating David.’ First 
great prize, M. Victor Biennourry, 19 years old, 
pupil of M. Drolling. Second great prize, M. 

L. T. N. Duveau, 24 years old, pupil of M. 
Cogniet. 

The assembly for this public ceremony was nu- 
merous and distinguished. Many celebrated per- 
sons of every nation were present, and among 
them, David, Mayerbeer, Carasfa, de Humboldt, 
de Fortia, Libri, Delaroche, Walekenaer, Picot, 
Lebas, &c. Ac. Before the distribution of the 
prizes, M. Raoul-Rochette, the secretary of the 
Academy, read the report upon the works sent by 
the French students at Rome. It was rather a 
severe one; and M. Delecluze, with many con- 
noisseurs, affirms it was not just, principally re- 
garding the delicious picture of M. Papety, a 
young artist of great hope. His work is original, 
and at the same time following the grand and pure 
principles of Art. 

After the distribution of the prizes, M. Raoul- 
Rochette, according to the usual form, took the 
chair again, and delivered a lecture, or the culo- 
gium of the sculptor Ramey, the friend of Prud- 
hon, the author of the statues of Napoleon, Klebcr, 
the Cardinal Richelieu, and other public works of 
merit. The ceremony was ended by a 44 Cantata/’ 
a composition of a young artist, who received at 
the same time the prize in the musical depart- 
ment. 

The Portrait of the Count de Paris. — Monsieur 
Noel had the honour of presenting to the King, 
Queen, Duchess d’ Orleans, and Princess Ade- 
laide, the drawing on lithographic stone of a por- 
trait of the heir of the throne, the Count de Paris. 

M. Noel copied it from the picture by Winter- 
halter. The royal family appeared highly pleased 
with the work. 

Paris.— Singular Discovery. — A most interest- 
ing discovery was made the other day at the Mu- 
seum of the Louvre. The details are given in a 
special memoir addressed by M. Letronne to the 
Academy of Inscriptions and Belles-lettres. 

Connoisseurs have admired, since the year 1834, 
a charming votive statue in bronze in the Museum 
of the Louvre : they,believed they recognised in it 


the archaic style of the Greek artist* anterior to 
Phidias. Ever since the statue wastoeen, a slight 
degree of efflorescence was observed a* the fissures 
of the bronze, especially at the edges of the orifices 
of the eyes, which had once been covered with sil- 
ver or enamel, but were now empty; * VfiHo\» 
means were tried to stop this efflorescence, hut in 
vain : the continued corrosion threatened to destroy 
this beautiful remain of antiquity. At last it oc- 
curred to M. Dubois that, as the statue had been 
found in the sea, where it had probably remained 
for ages, it might be filled by mud, with saline 
particles which, preserving their humidity, caused 
the efflorescence. The idea being communicated 
to M. Cailleux, director of the museum, an expe- 
riment was immediately made. 

The statue was sounded, and found to be full of 
a muddy substance which was still soft. Water 
was introduced at the orifices of the eyes, the only 
place, where it could be done, and, by repeated 
washings, a great quantity of mud impregnated with 
salt was drawn out, mixed with pieces of clay and 
brick, which M. Letronne considered to have been 
parts of the mould. At the end of the operation, 
the statue having been placed with the head down- 
wards, there appeared at the opening of the eyes 
four small pieces of lead: these were with difficulty 
extracted from the narrow orifices, and one piece 
fell into such small fragments during the operation, 
that it was quite lost. The other pieces arranged 
by M. Dubois appeared to be fragments of one 
l piece of lead, two centimetres in breadth and two 
millimetres in thickness. After bein^ cleaned care- 
fully the letters of a Greek inscription became 
visible. M. Letronne was applied to by the 
directors of the museum, and tne results of his 
researches were given in the memoir to the Aca- 
demy from which we extract as follows: — 

1. The piece of lead contained the names of the 
artists who made the Btatue, of one of these names, 
which was on the lost piece, there remains only, 
the last letters 44 on ” ; the remainder of the in- 
scription is — Mcnodates born at * * * * and 
* * * * a Rhodian made (the statue). 

2. It was rarely permitted to artists to inscribe 
their names on their works. These artists have 
placed their names within the statue, because it 
was a consecrated statue of Apollo placed as a public 
monument in the temple, being the produce of a 
tithe, as may be seen by the inscription encrusted 
in silver on the left foot of the statue. In a simi- 
lar case when the power of Pericles could not pro- 
cure for Phidias permission to inscribe his name on 
his work, he consoled himself by chiselling his 
portrait as one of the heads on the shield. 

3. The inscription was engraved, not in the 
usual manner on a square or oblong 44 tessera,” 
but on a narrow piece of lead, calculated to pass 
through the orifice of the eye, the only means by 
which it could be placed in the interior of the statue. 

4. M. Letronne is of opinion, from the inscription 
and also the style of the statue, that its antiquity 
is not greater than about 100 years before our era. 

Public Memorials. — Calvados. — The im- 
pulse appears great at present in the French nation 
for erecting memorials m honour of their great men. 
The council of the department de Calvados have 
given orders for a splendid monument to the 
memory of the lamented and gallant Admiral Dur- 
mont d’Urville. 

Dunkirk. — The council have ordered a co- 
lossal statue of Jean Bart. 

Department de Lot. — The general council 
have voted a sum, and have given the commis- 
sion for the statue of J. Murat, brother-in-law of 
Napoleon and King of Naples. 

Pau.— The noble marble statue of Henry IV., 
which had been for many months exhibited in the 
Court of the Louvre, has arrived at Pau, and the 
municipal council have determined to place it in 
the principal square of the town. 

Ancient Furniture. — An interesting specimen is 
about to be added to the collection of antiquities 
in the Louvre ; namely, a table presented by the 
Spanish Government to Henry IV. on occasion 
of bis marriage. It was found in a garret in the 
office of the Minister of Commerce, and is being 
restored by his orders. It is curious in point of 
art as well as antiquity. 

M. G. Dauphin.— The picture by M. A. Dau- 
phin, which gained a gold medal at the close of 
the exhibition of this year, the subject being a 
Mater Dolorosa, has been purchased by the Mi- 
nister of the Interior. 


Digitized by 



GERMANY. — AUSTRIA. — Vienna. — Exhi- 
bitions in Germany.— The well-informed periodi- 
cal “ L* Alliance des Arts/’ confirms that all the 
exhibitions of painting in Germany have been far 
from brilliant. That of Vienna had almost nothing 
of importance — excepting some works by Bauer, 
Schnorr, and Stdnmiiller. 

PRUSSIA.— Berlin.— The Artists and Work » 
Of Art in England. 1 vol. 8vo.~ Monsr. Waagen, 
the Director of the Royal Museum at Berlin, has 
published a veiy carious and interesting work, 

44 Kunstler and Kunstewerke in England.” (The 
Artists and Works of Art in England.) It is a 
book claiming attention from all connoisseurs, 
even from those who cannot partake all the 
opinions of the learned Director. 

Salzburg.— The Statue qf Mozart. — The 
festival to celebrate the inauguration of the 
statue of Mozart took place with great solem- 
nity. The concourse of visitors on the 1st had 
amounted to 18,000, and many thousands more 
were expected. We believe that all the con- 
servatories and academies of music, from St. 
Petersburgh to Naples, sent deputies. Among 
the noble visitors is the name of Lord Burghersh. 
The ceremonies commenced by the performance 
of the Mass composed by Mozart ; after which 
the crowd moved to the spot where the statue was 
placed. The Chevalier Neukomm delivered a dis- 
course, and the authorities proceeded to uncover 
the statue, which received universal applause. 
The idea it expresses is eminently beautiful and 
poetical. Mozart is resting one foot on a stone, 
and his head is turned upwards ; he appears 
about to ascend to heaven, whose harmonies have 
already reached his senses ; his mantle is falling 
off ; his laurel crown is lying neglected at his feet, 
emblematic of indifference to the glories of earth. 
The statue was modelled by Swankhaler, and cast 
by Steiglmayer. The festival was protracted for 
two days, occupied by the performance of Mozart’s 
music ; the second day opened with the famous 
Requiem. 

Leipsic. — Congress of Architects. —A con- 
gress of architects took place here on the 14 th ; 
the number assembled was 547. A place of meet- 
ing was fixed on for next year— Bamberg, in Ba- 
varia. We believe it is the first meeting of 
architects that ever took place. 

DENMARK. — Copenhagen. — Thorwald - 
sen. — The Commandeur Thorwaldsen has just 
arrived from Rome, in Copenhagen, in order to 
direct the museum called by his own name. The 
famous sculptor in April next will return to Rome, 
which he chooses to make his residence. 

RUSSIA. — Warsaw. — H. Verne t. — The Em- 
peror of Russia arrived at Warsaw the 1st of 
October. Among his suite was Horace Vernet. 
It is said that the celebrated French painter, who 
at present is in great favour at the Russian court, 
will accompany his Majesty in all his excursions. 

COLOGNE CATHEDRAL. 

It was briefly mentioned in our last number, 
under the head of Foreign Intelligence, that the 
first stone of the new works for the completion of 
this most extraordinary monument of medieval art 
and piety bad been laid by the IJing of Prussia, 
with much ceremony. The importance of the 
building, the interesting nature of the event, and 
the intense interest it has excited throughout Ger- 
many, seem however to call upon us for something 
more than this short notice. Cologne Cathedral, 
if completed according to the original design, would 
unquestionably be the most wonderful and the 
most beautiful building in the whole world. For 
a long time the name and country of its designer 
were unknown. It would now seem, however, that 
the honour of giving birth to the author of it 
belongs to Belgium ; a charter having been disco- 
vered, dated 1257 (the Cathedral was commenced 
1248), showing that the monks of Cologne, in con- 
sideration of the services performed by Master 
Gerard, of St. Trond (Gerardus de Sancto 7Vu- 
done) % who directed the construction of their Ca- 
thedral, had assigned to him a certain estate of 
land. 

The restoration of the choir, which has been more 
than 20 years in progress, having been satisfactorily 
effected, a firm determination to complete the 
building according to the original design, seemed 
suddenly to take possession of all Germany. The 


THE ART-UNION. 


King of Prussia was the most zealous in the 
cause (as he had been in perfecting the choir), and 
pledged himself for a large annual sum. Other 
potentates have followed the example, and private 
subscriptions in aid of the.undertaking have been 
entered into, not merely in the various German 
States, but in Paris and Kome. September the 4th 
was the day appointed for the Grundstetnlegsmg, 
and a glorious sight it was to see the enthusiam and 
the unanimity which actuated the large multitude 
assembled in Cologne on that occasion. The Kina, 
taking the mallet in his hand, uttered a noble 
speech, which nothing but want of space prevents 
us from presenting entire. 44 Here where the 
ground-stone lies,” said he, 41 here by these towers, 
will arise the noblest portal in the world. Germany 
builds it : may it be for Germany, with God's will, 
the portal of a new era, great and good. Far from 
her be all wickedness, all .iniquity, and all that is 
unpenuine, and therefore un-German. May dis- 
union between the German princes and their 
people, between different faiths and different 
classes, never find this road ; and never may that 
feeling appear here which in former times stopped 
the progress of this temple, — ay, even stopped 
the progress of our Fatherland. Men of Co- 
logne, the possession of this building is a high 
pnvilege for your city, enjoyed by none other; 
and nobly this day have you acknowledged that 
it is so. Shout, then, with me — and while 
you shout will I strike the ground-stone — shout 
loudly with me your city cry, ten centuries old, 
Cologne for ever ! ” 

And then, while a thousand voices re-echoed 
14 Cologne for ever !” the ancient crane on the 
top of the south tower was once again put into 
operation, and was seen slowly raising a ponderous 
stone ! 

The architect, E. Z winter, calculates that a sum 
equal to £720,000 sterling will be required for 
the completion of the structure, and that it 
will occupy about thirty years — an amount of 
time and money (and both probably inadequate), 
which seems to render the noble desire of the 


German people somewhat doubtful. Let us hope, 
however, that the fear may be unfounded, and that 
this magnificent building may gradually gain its 
intended proportions — an emblem of unity, a 
worthy offering to God, and an ornament to the 
world. ^ G. G. 

OBITUARY. 

MONSIEUR DE BOMlfBRARD. 

The world of Art has sustained a loss, in the death 
of M. de Sommerard, which will not be easily sup- 
plied. He had been, for some time, in declining 
health, but his labours were never interrupted. 
Even the day before his life closed, he was oc- 
cupied in correcting some proof sheets of his 
great work on 44 Les Arts au Moyen Age.” He 
died at the Hotel de Cluny, so well known to 
every lover of Art, as containing M. de Som- 
merard’s magnificent collection of Antiquities of 
the Middle Ages. 

The early life of M. de Sommerard was marked 
by many hardships : a soldier from the age of 
fourteen, his youth was passed in camps, and he 
made the campaigns of Italy and of La Vendee. 

At the close of the war he left the army and 
entered the 44 Comptabilite Nationale.” There he 
was distinguished by his industrious habits, and 
was named 44 rlflrendaire” of the Court of Ac- 
counts. At this period, his circumstances being 
less limited, he began to indulge his love of Art, 
which chiefly showed itself in the patronage he 
bestowed on young artists, more by his knowledge 
and influence, than by pecuniary assistance. 
Messieurs Gudin, the famous painters of marine 
subjects ; Eugene Lepoitterin, also a marine 
painter, and of pictures 44 de genre” so piquant 
and clever ; the unfortunate Gericault, and many 
others, were daily the objects of the friendly ex- 
ertions of M. de Sommerard, to promote their 
success by every means in his power. 

Later in life, when appointed 11 Conseiller 
Maitre” of the Court of Accounts, finding his time 
more at his own command, he began to execute a 
plan which had long been the subject of his thoughts 
— his great work on 44 Les Arts au Moyen Age.” He 
had formed a collection of objects of thst period by 
slow degrees, adding to it piece by piece till it be- 
came the magnificent collection of the 44 Hotel de 
Cluny.” To strangers it was an object of attrac- 


[Nov., 


tion ; and numbers, especially of English visitors, 
were daily received by M. de Sommerard, with a 
courteous politeness peculiarly graceful in one 
whose habits of study were so noted. Here are 
the chess-pieces of St. Louis, in crystal and pre- 
cious stones ; the bed of Francis I., of carved 
oak ; Venetian mirrors, armour, knives, armories, 
and tables — all of the middle ages. 

M. de Sommerard’s work is a description, with 
lithographs, of the principal objects of his collec- 
tion, the whole being too numerous to be included. 
We have now before us a part of it, and so va- 
rious and interesting are toe objects represented, 
that they make us more acquainted — they show us 
more or the interior of the lives of the various 
classes of persons in those times — than almost any 
work we can name. The distaff, the knitting- 
needles, the chatelaine of some great lady, tell not 
more the magnificence and rich ornament which 
was the fashion of the times, than that piece of fur- 
niture which seems an armory so minutely and 
laboriously carved by the monks of Cluny, and 
presented to their abbot, speaks of the monastic 
quiet and small value of time among the inhabi- 
tants of the monastery. It is an advantage which 
a Parisian or visiter to Paris possesses, that he 
can test the correctness of every drawing by com- 
parison with the object from which it is taken. 

We hope, at no very distant period, to bring the 
whole of this magnificent work into more intimate 
acquaintance with the British public. It is one 
that we think — notwithstanding its j^reat cost — 
could not fail to obtain considerable circulation in 
this country, if its merits were known ; for it is a 
vast storehouse of intellectual wealth, an inex- 
haustible mine of enjoyment, and a prodigious 
source of information to the artist and the ama- 
teur. 

It was the intention of the French Government 
to have purchased the whole of this fine collection, 
but a ministerial change has, for the present, 
deferred, and may doubtless long defer, this 
arrangement. 

The Hotel de Cluny is itself full of historical 
recollections of Mary of England, the wife of 
Louis XII., of Charles Brandon Duke of Suffolk, 
Francis I., &c. 

If. DAVIONON. 

This celebrated painter of letters, who has made 
for himself a reputation, in his peculiar style, 
that has rendered his name European, as well for 
his talents as for his careless prodigality, died 
a few days agp in the Hotel Dieu. His death was 
suited to his life. After too liberal potations, 
according to his custom, he mounted a ladder, 
lost his balance, and fell. He was carried to the 
hospital, where he died in a few days. 

M. A. VLANDRIN. 

M. A. Flandrin, the painter, is dead at Lyons 
at the age of 34. 

MR. JAMES EGAN. 

This excellent engraver, in mezzotint, died at his 
lodgings in Pentonville on the 2nd of October, at 
the age of about 43. He was a native of the county 
of Roscommon, in Ireland, and was undoubtedly 
the best artist in his particular department of the 
Arts which that country has produced. Of his 
birth and early history Uttle is known ; he was of 
humble parentage, and was entirely the architect of 
his own fortunes. In theyear 1825, he was in the 
service of the late Mr. S. w. Reynolds, in a menial 
capacity ; but here he was employed occasionally 
in laying mezzotinto grounds for his master, and 
received his first lessons in Art, which he was 
subsequently enabled to carry out in a manner 
that supplied proof of the natural energy and 
ability of his mind. He soon quitted his employ- 
ment — which was little better than that of an 
errand-boy— and commenced his career as a ground 
layer for engravers, 44 without a shilling or a 
mend.” Of the latter, however, he obtained 
many before the close of his brief life ; and had he 
lived but a few years longer be would have been 
recompensed by abundant occupation and corre- 
sponding wealth — wealth, that is to say, to a man 
of very moderate expectations and desires. 44 His 
intense application and earnest desire to learn”—* 
according to our generous informant, a brother 
engraver — 44 interested all who knew him.” He 
worked on, willingly enduring hard labour and 
severe privations ; but, at all times, with the proud 
spirit that distinguishes his countrymen, conceal- 
ing his necessities from his acquaintances, and 
looking forward, with hope, to the acquisition of 


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1842 .] 


THE ART-UNION. 


257 


independence by his own unaided efforts. Alas ! 
this exertion and this endurance was followed by 
the too common result. About eight years ago 
consumptive symptoms began to manifest them- 
selves; other bodily ailments assailed the over- 
wrought mind. His health sunk gradually under 
their influence ; but in spite of sickness he laboured 
on, with the same earnestness as ever, when periods 
of temporary relief permitted him to do so, until 
death terminated his sufferings, and gave “ the 
weary rest." 

His latest plate is undoubtedly his best, and it 
realized all the hopes of his friends, concerning the 
reputation he was destined to acquire. The work, 
however — * English Hospitality in the Olden 
Time,' after Cattermole, published a few months 
ago by Mr. Moon— was finished under circum- 
stances and in a state of health frightful to con- 
template ; and when to this consideration is added 
the fact that the engraving was from a drawing , it 
may be safely classed among the most successful 
achievements of modern Art; it has certainly 
not been surpassed, if it has been equalled, by any 
artist of his standing in the profession. Mr. 
Egan married when very young ; he has left three 
children to lament his loss, and without a pro- 
tector. Upon this subject we direct the attention 
of the generous and considerate reader to an ad- 
vertisement which appears in another column of 
the Art- Union. We are sure that the appeal in 
their behalf will not be made in vain. 

MRS. SOYER. 

We regret to record the death of this estimable 
lady and excellent artist. Her husband, M. Soyer, 
had accompanied the Duke of Saxe Gotha to Bel- 
gium ; where his wife was taken suddenly ill in 
childbirth, from the effects of which she died. 
Although her name is sufficiently familiar to those 
who have visited recent exhibitions, she was better 
known as Miss Emma Jones. Some of her pic- 
tures exhibited here were the subjects of very 
general admiration ; and such of our readers as 
visited the last exhibition at Paris (where Madame 
Soyer was even more popular than in England), 
will recall with pleasure her picture in the style of 
Murillo, of 4 The Two Israelites,’ which received 
so much praise from the French critics. The de- 
votion of Madame Soyer to the art which she so 
much adorned by her talents, is illustrated as much 
in the number as in the excellence of her works, 
which form the basis of a lasting and honourable 
fame. Although but 29 years of age when she 
died, she had already painted no less than 403 pic- 
tures. Many of them are in the possession of 
distinguished collectors in this country. 


VARIETIES. 

The Royal Commission. — Upon this sub- 
ject we have only to report, this month, that 
many artists are actively engaged in preparations 
for “ the competition.” A very large number of 
cartoons have been supplied by the makers ; and 
we know that the exhibition-room, be it where 
it may, will be full. We are still, however, more 
than doubtful as to our leading painters engaging 
in the competition; but in reference to this 
matter, one of paramount importance, we must 
entreat the indulgence of our readers until next 
month. The “precedents” are numerous; but 
they lie scattered through many documents, and 
are not to be brought together without time and 
considerable labour. We may premise, thAt they 
will be sufficient to remove the scruples of any 
artist, who is willing to “ copy the old masters.” 

The Liverpool Prize.— The prize of £60 
has been adjudged by the Liverpool Academy to 
J. S. Agar, Esq., for his picture, No. 93 in the 
Catalogue, of 4 Christ and the Womau of Canaan.’ 
Upon this award t^ere will be two opinions; the 
work is, unquestionably, one of merit — of con- 
siderable merit ; but to distinguish it as the best 
in the whole collection is as certainly going too far. 
In such cases, however, other considerations, of 
which we cannot be aware, may have been brought 
to bear upon the choice ; the Liverpool Academy 
give the prize out of their own funds, and have, 
therefore, it may be, a right to follow their own 
inclinations. There is one point, however, that 
must not be left out of sight— they have selected 


an historical painting, and not a picture de genre , 
for distinction ; another proof of an increasing 
taste for the higher department of the Arts. 

The Royal Academy.— The election of as- 
sociate members of the Royal Academy will take 
place, as usual, early in November; we imagine 
on the 1st of the month. There are, we believe, 
vacancies for three , and therefore three new as- 
sociates will be chosen. We have, of course, as 
every other person will have, our own specula- 
tions upon the subject ; and we have heard seve- 
ral rumours in reference to it. There can be, we 
think, little doubt that the best among the candi- 
dates will be chosen. Several excellent and justly 
popular painters present themselves ; the choice 
of Members will be a far more difficult task. 

Picture Frames.— We direct the especial 
attention of all persons interested in this subject, 
to the frames for pictures manufactured by Mr. 
Bielefeld. They are of papier mach£e ; and the 
advantages they possess over the ordinary com- 
position frames are so strong and so numerous, 
that they must, inevitably, bo brought into 
general use. First, they are cheaper; being 
about two-thirds of the cost — much less, indeed, 
where the frame is of large size ; next, they will 
not “chip” in carriage; and next, they are so 
much lighter in weight, as to supply an import- 
ant item in their favour to those who are in the 
habit of transmitting laige pictures from one 
place to another. Thi9 remarkable “lightness” 
is indeed desirable every where; for in many 
rooms, where the walls are thin or aged, it is 
impossible to hang large pictures in the usually 
ponderous frames. To exhibitors in provincial 
exhibitions these are no ordinary recommenda- 
tions. But we refer chiefly to the appearance 
of these frames, which interests the collector as 
well as the artist, and, indeed, all persons who 
adorn their homes with pictures or prints, be they 
many or few. They look exceedingly attractive, 
and are in reality as much so as if they had passed 
through the hands of the carver, and been pro- 
duced at about ten times the expense. The gild- 
ing tells with very brilliant effect ; and, no matter 
how elaborate the pattern may be, they have a 
clearness and sharpness that we have seldom, or 
never, seen obtained in composition. Now that 
so many frames will be required for the prints 
about to be issued by the several Art- Union 
Societies, we conceive we may convey useful in- 
formation to thousands, by recommending them 
to examine these frames ; the patterns are infi- 
nitely varied ; some have been designed expressly 
to meet these particular purposes ; and their ad- 
vantages are so obvious as to be at once appre- 
ciated by all by whom they are seen. 

“ N ational” Art-Union.— A plan is in agita- 
tion for establishing an Art- Union upon a scale of 
immense magnitude ; having reference first to the 
distribution of pictures, in the usual manner, and 
next to the circulation of engravings, in accord- 
ance with the ordinary mode ; but having some 
peculiar features by which its projectors expect 
to obtain the suffrages of a mass of parties in all 
parts of the United Kingdom. These are, if we 
are rightly informed, the forming an exhibition 
of the prize pictures, previous to drawing, in 
every town of note in England, Ireland, and 
Scotland; and so conveying a knowledge of 
British art to places from which it has been, 
hitherto, excluded ; or where, at all events, it has 
made but limited and partial way ; — and next, to 
remove the leading difficulty with which existing 
societies have to contend, and which forms a 
great barrier to their usefulness, by supplying to 
each subscriber a print at the time of his sub - 
scribing. This is, in fhet, its leading mark 
of originality ; and to do this effectually, we 
understand, arrangements have been made 
with Mr. Moon for the purchase of several of 
his plates; among others, of the two magni- 
ficent ones, engraved by Miller and Will- 
more, from Tamer’s pictures of “ Ancient” and 


“ Modern ” Italy, now on the eve of finish ; 
prints that certainly, up to this time, would have ; 
been published at — and have been worth — two 
guineas each. It is proposed to give one of 
these prints to each subscriber; and to give 
him also his “ chance” of a prize of some mo- 
dern picture — the number and value of the 
collection of picture-prizes to depend upon the 
sum subscribed. London is to be the grand 
depot; but branch societies, under proper juris- | 
diction, and with proper agents, are to be esta- 
blished in nearly every town of the United King- 
dom. We merely give these “ facts” as we have 
heard them, believing them to be correct, with- 
out being at present enabled to consider the 
“Plan” in all its huge and momentous bear- 
ings. Certainly it will, if carried out effec- 
tually, judiciously, and honestly , produce a com- 
plete Revolution in Art ; for it will accustom 
the public to obtain for the sum of a guinea (or 
rather for holf-a-guinea — half, it is understood, 
being devoted to the purchase of prizes) a print 
such as they have been accustomed to pay two or 
three guineas for. In numbers, however, there is 
strength ; a large circulation of any work enables the 
producer to offer each copy at a comparatively re- 
duced price ; and we know that in the case of 
the Annuals great astonishment was at first ex- 
cited by the selling twenty prints for twenty shil- 
lings, each of which would, a few years ago, have 
brought the whole sum. It is scarcely needful 
to observe, that this extraordinary change will 
be the result of the invention of the Electrotype— 
an invention that is no doubt likely to render 
the finest productions of the burin as easily 
accessible as the commonest prints. We reserve 
our opinion upon the whole project until we 
have obtained more satisfactory information con- 
cerning it ; but it will be perceived that we have 
a disposition to encourage it ; first, because we 
believe it will be wise to direct a mighty stream 
into a safe channel ; and next, because, come the 
design from what quarter it may, we shall rejoice 
to see fine works of the painter and engraver 
brought within reach of the multitude, the only 
sure way to improve the general taste, to elevate 
and instruct the universal mind, and to induce a 
strong desire (that will inevitably be gratified) to 
obtain things even yet better. For many years 
past, cheap and good Literature has been amply 
supplied; the researches of science may obtain 
for us Art, also cheap and good. 

Public Portrait. — A portrait, Bishop’s size, 
of Mr. William Menzies, an accomplished mu- 
sician and “ estimable Scot,” has been recently 
painted by Mr. Alexander Chisholm for the club 
of “ True Highlauders,” a benevolent society. 
The likeness is striking, and the Highland dress 
and arms, in which the figure appears, afforded 
the artist opportunity for imparting pictorial 
effect, in which he has been very successful. 
Besides the fidelity of the likeness, the painting 
is decidedly good. The pattern of tartan is the 
remarkably showy, but well arranged, sett which, 
as worn by Sir Niel Menzies’s clan, attracted so 
much attention during the late gathering at Tay- 
mouth. The portrait was procured as a testimo- 
nial of respect by the personal friends of the 
gentleman, and they gave it for preservation to 
the club, of which he is the oldest member, and 
has been the staunchest friend. The ceremonial 
of presentation was interesting. About 300 indi- 
viduals, comprising a number of respectable 
ladies, were present, the members and many 
others wearing the national costume, which gave 
an imposing effect to the assemblage. After 
delivery by the deputation, and acknowledgment 
by the chief in an appropriate reply, the picture 
was hung up in a suitable position, amid the loud 
sounding notes of “ Failte Meinaich,” or the 
Menzies’s Salute. No more mutually-pleasing 
mark of esteem can be shown than in thus 
obtaining and bestowing the portrait of a valued 
friend. It is gratifying to the individual who 
has his “ veritable effigies” preserved in an 
institution, the success of which he laboured to 


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THE ART-UNION. 


[Nov., 


promote. It is a disinterested and lasting tribute 
to worth, and a judicious employment of the 
artist’s skill. A portion of the funds of societies 
which are expended on transient and unimportant 
objects might be laid out with much propriety 
in obtaining portraits of their most distinguished 
benefactors. If one was taken periodically, in 
process of time an extensive collection might be 
formed, which, to the members, would be always 
interesting and honourable ; and the claim to such 
distinction being decided by vote, an emulation 
would be excited which could not but hare a 
happy effect on the general interests of the 
association. 

The Chapel Royal, Windsor.— This beau- 
tiful chapel has received the adornment of a 
large west window, and another of stained glass 
in the choir. A writer in the Timex thus refers 
to the old condition of the west window', and de- 
scribes its present state: — “In the year 1774, 
the Rev. Dr. Lockman, canon of Windsor, col- 
lected, from various parts of the chapel, a great 
number of detached figures in stained glass. 
These were placed in the compartments of the 
great west window on a ground of plain white 
glass. The number of figures not being suf- 
ficient, however, to fill the whole of the openings, 
the glazier ingeniously composed some trellice 
patterns, which were formed in colours of the 
most discordant kind, to fill the remainder. The 
ramifications of the arched head were occupied 
by plain surfaces, chiefly of glaring orange and 
purple stained glass; yet with all these vio- 
lations of good taste, perpetrated at the expense 
to the then chapter of £600, there was a certain 
degree of effect produced, particularly at sunset, 
which gave great brilliancy to the architecture. 
In the new arrangement by Mr. Willement, the 
whole of the ancieut fltftms have been repaired, 
and instead of the crude ground of w’hite glass, 
on which they were placed, each compartment 
has a diapered ground of warm yet quiet tint, 
with an architectural frame to each, formed by a 
base, columns, and enriched canopy, correspond- 
ing in design with the style of the chapel. Ten 
ancient figures, and as many entirely new, have 
superseded the formal and unmeaning patterns of 
the glazier. The lowest range of openings being 
considerably higher than the others, that space is 
now occupied most appropriately by a long label 
inscribed with the prayer , u God save our gracious 
Sovereign, and all the companions of the Most 
Hon. and Noble Order of the Garter.” Within 
the arched head of the window the four principal 
compartments are filled by the initials, crown, 
and badges of King Edward III., the founder of 
the Order of the Garter; of King Edward IV., 
who began the erection of the present chapel ; of 
King Henry VIII., who completed it; and of 
Queen Elizabeth, in whose reign so many addi- 
tions were made to the Castle. The smaller 
openings are strewn with the Tudor devices on 
rich grounds of ruby and garter blue ; in the 
centro, above a sculptured panel of the royal 
arms, are placed in stained glass the arms of the 
patron saint, with the initials of Sanctus Geor- 
gius; and above these, in the extreme apex, the 
sacred monogram I. H. S. By these judicious 
alterations, the whole surface of the window has 
become replete with the richest tints, sufficiently 
varied to obviate any monotony, and producing, 
with the greatest fulness of tone, an entire ab- 
sence of that unseemly glare which too often per- 
vades almost all modern attempts in this class of 
art The arrangement conduces essentially to 
develope the great beauty of the stonework, a 
point most sadly neglected in most cases.” 

Models in Clay. — In reference to this sub- 
ject, last month, we committed an error which we 
are anxious to rectify. The address of Sangio- 
VA.NNI is Nassau-street, Middlesex Hospital, and 
not Wardour-street. Notwithstanding this mis- 
take, we are glad to find that we have induced 
sonic persons to visit his studio — the studio of an 
excellent artist, whose claims are of an order that 
will be readily admitted and acknowledged. 


THE STUDY OF ARCHITECTURE. 

The increased attention paid at this time in 
England to the study of architecture; the inteiVst 
in the protection of ancient buildings exhibited by 
various classes of society, and the dawning desire 
apparent on the part of the public that all new 
national buildings should be worthy of the country 
and the age, are amongst the most gratifying 
signs of the times, and can hardly fail to lead to 
most satisfactory results. Foremost amongst the 
means conducing to the good end in view we have 
always regarded the appointment of Professors of 
Architecture at King’s College and the London 
University ; and it was therefore with no common 
anxiety that we attended the introductory lecture 
of Professor Donaldson at the latter institution, on 
the 17th of last month, desirous to learn, in the first 
place, the spirit in which he would enter upon his 
most responsible office, and, in the second, the 
manner in which it would be recognised and sup- 
ported by the profession generally. The result 
was in both cases most gratifying. The address 
was eloquent, instructive, and high-toned; and 
the theatre was crowded by an audience of no 
ordinary character, embracing nearly all the roost 
distinguished members of the profession. Apart 
from the occasion itself, it was an opportunity of 
acknowledging, in some degree, the obligations 
which the profession are under to Mr. Donald- 
son for his strenuous efforts in establishing the 
Institute, which we were glad to find was not dis- 
regarded. We will not attempt to follow the 
whole course of the lecture, as it will doubtless be 
published, and so placed within the reach of all 
our readers, but must content ourselves with re- 
ferring to some few passages in it. Tracing the 
general progress of architectural history, the lec- 
turer pointed out briefly the peculiarities of the 
buildings of various countries, described some of 
the stupendous monuments of the earliest times 
still remaining, and showed the value of these 
relics as recalling the memory of past events with 
intense effect, and acting as so many pages of his- 
tory to develop the progress of the human mind. 

44 Who is there that nas visited the Tuscan capi- 
tal,” said he, 44 and has not been struck with the 
frowning aspect of the Florentine palaces ? Im- 
mediately the mind reverts to those times when 
the Bianchi and the Neri, the Guelfi and the 
Ghibellini, divided into two factions every state 
— every street: when the citizens deluged the 
roads with their blood ; when every dwelling was 
in fact a tower of defence, and every palace a for- 
tress. The rings still remain to which were at- 
tached the horses of the troops, the iron fastenings 
whence waved their banners, the massive lanterns 
which served to guide the steps of the retreating 
partisans.” 

The Egyptian temple, with its avenue of sphinxes 
leading to the sacred precincts, its enormous pro- 
pylea, magnificent court, and densely- columned 
hall, was admirably described and illustrated, as 
also were the glories of Athens, and the sublime 
darings of the Middle Ages. 

Of Style, the lecturer remarked, “ it may be 
compared to language in literature. There is no 
style, as there is no language, which has not its 
peculiar beauties — there is no one that can be 
safely rejected. A principle reigns in each, which 
the architect may haply apply with peculiar fitness 
on some emergency.” The necessity of recurring 
to first principles, and of investigating those laws 
which govern taste, and must be discoverable in 
the wondrous buildings which, whether in Egypt, 
Greece, Rome, Asia, or Modern Europe, have 
commanded the admiration of succeeding ages, 
was pointed out. 44 Never were they more needed 
than now,” observed the lecturer, 44 for not only 
our own school, but those of our Continental 
neighbours, have reached a most critical period. 
We are all, in fact, in a state of transition. There 
is no fixed style now prevalent here, or at Paris, 
at Munich, or Berlin. There is no predominant 
predilection nor acknowledged reason for adopt- 
ing any one of the old styles of Art. We are 
wandering in a labyrinth of experiments, and en- 
deavouring, by an amalgamation of certain features 
of this or that style, to form a homogeneous whole 
with some distinctive character of its own.” 

The different departments of construction were 
touched upon, and the necessity of practical know- 
ledge forcibly pointed out. Architecture is essen- 
tially composed of two divisions, imagination and 


reason. Deprive it of the element of taste, it 
assumes the form of mere mechanical science. I 
Take away its element of sound construction, its I 
flights in the region of fancy degenerate into wild 
caprice and extravagance, having no ennobling 
end or objedt. The subject will accordingly be 
divided into two courses — Architecture as a Fine 
Art, and Architecture as a constructive science ; 
and, if the prospectus published by Mr. Donald- 
son be fully carried out, they will be treated in a 
more perfect manner than has ever yet been at- 
tempted. 

THE TEMPLE CHURCH. 

This renovated edifice will be opened for public 
worship on Sunday next, the 6th of November, by 
the Rev. Mi. Benson, the Master of the Temple. 
For some days past it has been thronged with 
visiters, although it is still in an unfinished state. 
The repairs were commenced in 1810 ; and the 
immense expenditure required has been jointly 
borne by the two Societies of the Inner and Middle 
Temple. We extract from the Timen the follow- 
ing graphic and circumstantial account of the 
changes the venerable structure has undergone : — 

44 Those to whom the Temple Church was familiar in 
its late dress of piaster and whitewash will scarcely 
recognise the ancient structure in the gorgeously de- 
cornted appearance it now presents. The repairs were 
commenced in 1840. The dilapidated state of the 
building, in great measure, owing to the reckless man- 
ner in which the walls and pillars had been overlaid 
with heavy monuments, rendered these works neces- 
sary, and, in accordance with the improved taste now 
prevalent in the public mind, the benchers were led to 
extend the mere repair into a restoration of the build- 
ing as nearly as possible to its original state. The 
architect who commenced these works was Mr. Savage; 
but, owing to some differences between that gentleman 
and the building committee of benchers, the charge 
was transferred to Mr. S. Smirke on the part of tne 
Inner Temple, and Mr. S. Burton, on that of the 
Middle Temple. It is, however, due to Mr. Savage to 
state, that the plans prepared by himself have been in 
a great measure carried out by his successors. 

“The Entrance Porch is for the most part new, 
the excessively ornamented old doorway having been 
partly renewed, and the remainder re-workeo and 
restored. 

“The Circular Nave.— The six clusters of old 
Purbeck marble columns, which formerly supported 
the whole superstructure, have been removed, and new 
columns of the same material substituted. The ceiling 
of the centre part (a truncated dome of comparatively 
modern erection) has been taken down, and a new oak 
vaulted and grained ceiling substituted, painted by 
Mr. Willement, strictly in accordance with the style of 
the period. The whole of the walls, arches, and aisle 
vaults have been reworked, and new polished marble 
shafts substituted for the old columns. The sculptural 
figures of the Knights Templars have been restored in 
the most perfect manner, and will again occupy their 
former positions. 

“The Triforium ok the Nave has been con- 
verted into a depository for nearly all the monuments 
which formerly disfigured the walls of the church. 
This gallery, common in all cathedral edifices, now 
forms a handsome promenade of 13 feet wide and 15 
high round the circle, the mural tablets of most of the 
eminent lawyers of the last two centuries being care- 
fully arranged on either side. They are much better 
seen than formerly, and form an interesting collection . 
of monumental sculpture. 

44 The Square Chancel.— This part of the church, 
hitherto filled with pews, which concealed the bases of 
the marble columus (themselves hidden by a thick 
coating of plaster and paint, through the over-anxious 
desire to efface all emblems of the Popish faith on the 
part of the Protests’^ lawyers shortly after the Reform- 
ation), and encumbered to a height of eight feet from 
the ground with oak wsinstcoaung, shutting out the 
view of the elegant marble piscina on the south side 
of the building, has been entirely cleared of these un- 
sightly additions. The huge pulpit and organ-screen 
are also removed, and a new and elegant gallery for 
the reception of that instrument has been erected oa 
the north side, occupying one bay, with a vestry be- 
neath. The walls or the latter small apartment are 
studded with monuments, among which the most con- 
spicuous are those of Lord Eldon, Lord Stoweli, and 
Oliver Goldsmith. The north and south aisles are each 
divided into five compartments; the eastern division 
will be occupied by the benchers’ ladies, and that ad- 
joining by the benchers themselves, every seat having 
distinct and elaborately carved elbows. The two next 
are occupied by the barristers, and the remaining divi- 
sion by the barristers’ ladies. The members of the 
Inner Temple will occupy the south, and those of the 
Middle Temple the northern side of the church. The 
whole of the centre is fitted up with sittings for the 
students, in the cathedral style of arrangement The 
most prominent object on entering the chancel from 
the western porch is the triple-lancet window over the 
altar. This beautiful specimen of stained glass, ex- 


Digitized by 


, 1842 .] 


THE ART-UNION 


259 


ecuted by Mr. 'Willement, F.S.A., is intended to repre- 
sent the principal avento in the life of our Saviour. In 
the first division are the annunciation, the nativity, the 
angels appearing: to the shepherds, the wise men before 
Herod, their progress towards Bethlehem, and their 
adoration of the infant Jesus. The centre diviaion con- 
tains the flight into Egypt, the presentation in the tem- 
ple, Christ before tbedocior^, the baptism, the marriage 
at Cana, the calling of St. Peter, the transfiguration, 
the entry into Jerusalem, the last supper, Christ before 
Pilate, hearing the cross, the crucifixion, Joseph beg- 
ging the body or Jesus, the soldiers guarding the se- 
pulchre, and, in the extreme upper point, the resurrec- 
tion, The third division contains representations of 


thoae events which took place after the crucifixion. 
The interstices of each of the divisions are tilled up with 
a mosaic of the richest coloured glass, and enclosed 
within broad and elaborately ornamented larders. On 
each side of this window are three other openings, con- 


taining subjects in stained glass illustrative of the his- 
tory of the Knights Templars, viz , the Temple at Jeru- 
salem, and the city of Bethlehem, the armorial bearings 
of the founders and benefactors of the order, and 
Equestrian figures of those masters who comm a tided in 
England during the erection of this edifice l lie style, 
details, and costume of every part evidence the most 


careful antiquarian study, and the arrangement of t lie 
various tints presents the most perfect nanmiiiy. On 
the south side of the church, facing the organ, is an- 
other painted window, totally different in character. In 
this the principal ornaments are five whole-length 
figures of angels, playing on vai ious musical instru- 
ments. The remainder of the window is filled by deli- 
cately-drawn ornaments on lated ground, re- 

lieved by rosettes and bands ; < d >ured gla*s. In the 
cleristory of the round church there is at present only 
one window of stained glass, representing ourSaviour 
enthroned between the evangelise. The pr 'evading co- 
lours used for the decoration of the walla and roof of 
the chancel are blue and red. The ceiling is divided 


superb instruments built by Schmidt, more than a cen- 
tury since, has been entirely reconstructed by Bishop, 
who has greatly extended its power by the addition of 


who has greatly extended its power by the addition of 
15 large pedal pipes, and corrected a few defect* in the 
Original. The floor is paved w ith glazed encaustic tiles, 
copied exactly from ancient examples. This is not ex- 


pected to be completed by the day appointed for the re- 
opening of the church for public service, owing to the 


opening of the church for public service, owing to the 
entire stoppage of the works at the Potteries, in Staf- 
fordshire, during the late disturbances. 

“ The bell, which was formerly in the roof of the cir- 
cular nave (although that was not its original place), 
has been removed, and hung in a new stone belfry 
turret erected over the Newell staircase on the north 
side. 

“ The churchyard is being paved and otherwise im- 
proved, and it has been determined by the benchers to 
allow no more interments therein. It will be recol- 
lected that the musical service of the Temple Church 
was formerly a great attraction. The benchers have 


now decided on introducing a choir, and the service will 
be performed in the cathedral style. 


be performed in the cathedral style. 


ART IN THE PROVINCES. 


Art-Union Societies are spreading rapidly throughout 
the United Kingdom ; in addition to those to which we 
referred last month— at Dublin, Belfast, Liverpool, 
Birmingham, Manchester, Norwich, and Plymouth— 
we have now to report their contemplated establish- 
ment at Exeter, Taunton, and Sheffield ; incorporated 
in some instance* with “ Institutions” for ihe pro- 
motion of the Fine Arts. 


Sheffield.— Our advertising columns will afford 
nple information concerning the project of Mr. Oil 


ample information concerning the project of Mr. Oil 
bert for the establishment of au Art-Union in this 
wealthy and populous town of Yorkshire. This county 
—the largest, and it may be said the wealthiest, of the 


ao long without one, while they have flourished in so 
many other counties. M r. Gilbert calls upon his friends 
and the public generally, to remove this reproach from 
their county. We have no doubt, whatever, of his 
entire success. It will be seen that he has obtained 


promises of support from several distinguished artists, 
in forming an exhibition, the period or which will be 


duly communicated to our readers ; and that he has 
introduced a novelty into his programme that cannot 
fail to prove attractive. Each subscriber will receive a 
print at the period of subscribing ; and will not have to 
wait for it until time has enabled the engraver to pro- 
duce it. To this important feature of his plan Mr. 
Gilbert directs especial attention : it is one which 
cannot fail to give universal satisfaction, inasmuch as 
the subscribers will be at once enabled to estimate the 
value of the work procured, which, to say the least, 
will be equivalent to the guinea be subscribes; and at 
a subsequent and not distant period, he will have the 
chance of obtaining a painting by some eminent British 
artist, selected by himself, of between the value of 10 
guineas and 200 guineas. The works selected by 
Mr. Gilbert fur distribution upon this principle are 
already published; but their circulation has not been 
in proportion to their merits; they will be in fact 
“ quite as good us new” to nineteen-twentieths of the 
subscribers. “ For every guinea subscribed, parties ; 
subscribing will receive, at their option, a copy of 
Watt’s >*1)1611(11(1 line engraving after Leslie, R.A., of 
‘May Day in the Reign of Queen Elizabeth,’ or the 
mezzotinto enc raving by Lucas, after Isabey, of ‘The 
Return to Fort ” The first is especially valuable ; and 
will contribute largely to extend a just appreciation of 
what is good and true in Art; for it is excellent as a 
composition and admirable as an engraving. 

Exeter.— Flans are in progress for the establish- 
ment of an “ Institution for Fromoting the line Arts” 
in this enlightened city of the west. It is strange that 
Devonshire should have been so long without one — 
the native county of Reynolds, Northcote, East lake, 
Haydon, Hart, Frout, Brockedon, and several others, 
whose names we car not at the moment call to mind. 

It will be established upon n scale worthy of the fine 


into compartments, alternately ornamented with the 
armorial bearings of the two inns : the lainb and staff 


Wo shall take an early opportunity to 

progress.” 

Plymouth.— This infant Society has ma 


Plymouth.— This infant Society has made some 


m lliur IVi ucuiliiga U1 tuc IWV mua. tuc lauiu nuu dieu 

for the Middle Temple, and the firing horse for the 
Inner Temple. Figures of several of the early kings of 


Inner Temple. Figures of several of the early kings of 
England are emblazoned on the western wall, ana the 
shield of the holy cruss worn by the Knights Templars 
is frequently introduced. The altar is entirely new, 
from the design of Mr. Smirke. The creed and com- 
mandments are painted black, on a gold ground, with 
illuminated initials, producing a remarkable richness 
of effect. The whole of the designs for the stall-ends 
and elbows, consisting of grotesque heads and foliage 
of the most elaborate description, have been furnished 
by Mr. Cottingham, of the Waterloo-road. 

“ The desk now erected is merely temporary, it being 
considered prudent to ascertain the most eligible posi- 
tion by actual experiment, previously to the definite 
adoption of a site for the handsome carved oak pulpit 
which is in preparation. It is not intended to erect a 
reading-desk— the creed and lessons will be read as in 
collegiate establishments. The organ, one of the few 
superb instruments built by Schmidt, more than acen- 


progress. It is, however, conducted upon a limited 
scale. The results of the first annual meeting are thus 
reported by the committee:— Their object was, at the 
ontset of their undertaking, rather to secure a feeling 
of gratification in all llieir subscribers, by presenting 
a print, which each should regard as a prize, than to 
obtaiu the triumph of a few at the cost of general dis- 
appointment and dissatisfaction. The number of sub- 
scribers amounts to 306, producing a revenue of 153 
guineas. Of this sum, ^80 6s. 6d. has been appro- 
priated to the purchase of the requisite number of en- 
gravings, and of the surplus, jfc45 has been divided 
into prizes of the following amounts, which will be 
presently drawn for :— One prize of j 610, two prizes of 
j£6each, oneofj£5, and rive at £% each; 24 proof im- 


pressions of the print will also be drawn for as prizes. 
The balance has been expended in the necessaiy outlay 


of conducting the Society’s operations. The print dis- 
tributed is engraved by Mr. Kyall— and engraved with 
his usual skill— from a very pretty drawing by Mr. A. 
Penley. The Society, therefore, is doing good service, 


— at least, by the circulation of a pleasant print that 
cannot but stimulate to a desire to obtain belter. 

Taunton.— We copy the following announcement 
from the Somerset County Gazette “ It is with plea- 
sure that we announce the rapid progress towards com- 
pletion of a scheme which well deserves the support of 
all who desire the diffusion of a taste for the Fine Arts, 
and the cultivation of intellectual enjoyments. An ad- 
vertisement in another place describes the outlines of 
the plan; the details are not finally determined, but 


the main purpose is to unite in one institution, at a 
trifling annual subscription, the advantages of an Art- 
Union, of a Conversazione, of a Picture Gallery*, and 
of a Literary and Scientific Association. The design is 
to take a large room, which is to be open every* evening 
to the members; with periodical Conversaziones, at 
which the only refreshments permitted will be tea and 
coffee, occasionally a musical entertainment, and now 
and then a lecture, as opportunities may offer. The 
cost will be very trifling, the advantages very* great. 
Many artists have already promised their assistance; 
almost every distinguished name in West Somerset is 
upon the list of members; it cannot fail to become 
a social centre, where the wittiest and wisest will meet 
in social intercourse upon neutral ground, where only 
politics and polemics will be forbidden. The prizes of 
of the Art-Union will more than repay the subscription ; 
and we can only commend it most heartily to our 
readers, entreating them to put down their names at 
once, that it may be commenced without delay, and 
promise that we will give a place in our columns to any 
suggestions that may be offered in advance of the 
scheme of which we have here presented a feeble out- 
line.” 

Glasgow.— The second annual exhibition of “The 


West of Scotland Academy” was opened on Saturday, 
[ the 1st October. To the Scottish Guardian we are 
i indebted for this information, and also for a criticism 
on the pictures exhibited. “ We are happy,’’ observes 
that journal, “ in being able to announce, that the 
present exhibition is much superior to the last, both in 


point of excellence and number of the pictures ex- 
hibited. The exhibition of last year contained 311 works 
of Art, contributed by 112 artists: whereas the present 
one contains 377, contributed by 167 artists : thus show- 
ing a considerable increase both in the artists who have 
supported the exhibition, and also in the number of 
works they have supplied. In the choice of subjects, 


there is more variety, and a smaller preponderance of 
landscapes and portraits. An agreeable relief is now 
afforded by the introduction of several historical pic- 
tures, and a number of imaginative compositions. We 


are gratified to observe, among the new contributors, 
names already distinguished in the annals of Art, ana 
that the younger artibts have not only maintained their 
standing, but many of them made considerable ad- 
vancement.” 

Edinburgh. —The friends and admirers of David 
Roberts, Esq., R.A., gave to that estimable gentleman 
and accomplished artist a public dinner, on tlie 19th 
of October. There were about 100 gentlemen present, 
among whom were a large number of artists. The 
Hon. Lord Cockburn was in the chair, supported on 
the right by Mr. Roberts, Sir William Allan, President 
of the Royal Scottish Academy, Sir Henry Bishop, 
Right Rev. Dr. Gillis, Professor Wilson, W. H. Mur- 
ray, Esq., &c. &c. ; and on the left by the Lot*d 
Provost, Sir John Robison, &c. ‘ We regret that we 
received the newspaper containing a report of the 


dinner at too lste a period in the month to do justice 
to the interesting occasion. We rejoice that the ex- 
cellent painter has been thus “ honoured in his own 
land.” No man deserves it better; not alone because 
of his talent, which is of the highest and best order; 
but for his character and disjvosition, which have 
obtained for him “troops of friends.” We must 
devote some space to a few passages from the speech 
of Lord Cockburn “ I should not do justice either to 
him or to you, if I did not say plainly to him, that he 
is not to take this meeting as a mere compliment in 
honour or admiration of his genius: he must also do 
us the justice to receive it, asun expression of our admi- 
ration nnd esteem for his character as a man. This is 
not a part of the matter before ine on which I shall do 
more than touch ; but 1 may be allowed to say, that 


old city ; and proper appeals will be made forthwith 
upon the intelligent and patriotic gentry of the shire. 


there are sometimes kindred failings which are apt to 
adhere to the fringes of a career like this; that these 
are often excusable and natural; but I have been 
delighted to find that I could discover no trace of them 
in hun. I have heard Mr. Roberts much talked of and 


much discussed, yet I declare solemnly that I never 
heard of forgetfulnessto any ancient friends; that I never 
heard of any paltry corroding professional jealousy — 
thnt I never heard of the slightest tincture of that folly 
or guilt by which genius is sometimes insulted in being 
made the apology.” We record even this brief notice 
of t lie business of the day with exceeding pleasure; it 
is one of the high rewards of genius— one that repay* 
for the past and encourages for the future. It is such 
a recompense as Mr. Roberts has deserved; one of 
which he may be justly proud — one which honours 
equally the artist and his native country. May it work 
as an example ; and may we find, ere long, that genius 
in Great Britain will arouse something like the enthu- 
siasm it invariably excites upon the Continent. • 

Aberdeen — Statue of the late Duke of 
Gordon. — “We understand that Mr. Campbell, of 
Loudon, the distinguished sculptor to whom the exe- 
cution of this work was confided, has just paid a visit 
to this city, for the purpose of giving this most suc- 
cessful achievement of his talents and skill those 
finishing touches which no hand save that of the artist 
can effectively impart. The statue, which is of Aber- 
deen granite, is 10 feet in height, and w ill be placed on 
a pedesral of equal elevation. His Grace is reprerented 
in military costume, leaning on his sword, and with 
one foot resting on a piece of ordnance. Around his 
shoulders is thrown a cloak, the folds of which are 
managed in the most graceful and effective style. The 
conception of the work is marked by that noble sim- 
plicity and vigour which characterise ail Mr. Camp- 
bell’s productions. The likeness of the lamented duke 
has been preserved wilh singular fidelity ; and every*, 
the minutest, detail is given with extraordinary free- 
dom and truth .” — Aberdeen Journal. 


SPRING FLOWERS. 


Bright-coated Crocus, early pledge of Spring, 


I mark thee from thy birth, 

Till, o’er the frosted earth, [fling ! 

Thy green -sheathed flowers their look of gladness 
Along the box-edged walk, 

Alternate with the Snowdrop’s slender stalk, 
What sweet associate thoughts thy petals bring — 
Dreams of dear years gone by, — 

Joy that the laggard Sun, 

His wintry woof unspun, [eye. 

Bedecked with silken rays will shortly charm our 


ing the grasp of Winter’s icy hand, 


hou seizest, pretty flower, 
he earliest sunny hour, 


The earliest sunny hour, 

To peep once more above the sullen land ! 

With blithest thoughts entwined, 

Thou art more welcome to the poet’s mind 
Than ev’n the gems of Flora’s summer band ; 
They come when all is fair 


(Like friends of worldly wiles, 

Who smile when fortune smiles) ; 

Thy golden bloom makes glad when all around is 
bare. 

1842. Hen&y J. Townsend. 


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I 

i 260 


THE ART-UNION. 


[Nov., 




THE CASTLES AND ABBEYS OF 
ENGLAND* 

There are few subjects connected with our country 
of more general interest than this ; and none that 
afford better materials for the artist. “ They 
stand/’ to borrow a passage from the author of 
the work, “ like monumental pillars in the stream 
of time, inscribed with the names of England’s 
chivalry and early hierarchy, whose patriotic deeds 
and works of piety they were raised to witness and 
perpetuate.” Many of them are still perfect — 
inhabited by the descendants or the successors of 
the founders; others are glorious in their ruins, 
every stone of which has a tradition, and every 
aspect of which affords a rich treat to the painter. 
We hailed the appearance of this work as a valu- 
able addition to our illustrated literature : it might 
certainly have been better done ; but it has been 
well done. There are artists more worthy to be 
intrusted with the pleasant task; but those who 
have been employed are not unworthy ; and we 
have, undoubtedly, a book in all respects useful, 
agreeable, entertaining, and instructive; with a 
vast deal of information so judiciously blended with 
the romance of history, as to render the volume 
exceedingly attractive ; independently of its pic- 
torial embellishments, all of which are remarkably 
faithful, have been well selected, and are skilfully 
engraved. Dr. Beattie, whose previous works 
have attained high and deserved popularity, has 
not, indeed, aimed at that which his plan did not 
require — originality : he has gathered the gems of 
the old chroniclers, and strung them carefully to- 
gether ; describing the ancient state and the modern 
condition of the places pictured, in an easy, grace- 
ful, and intelligible style ; so that the less initiated, 
as well as the more learned, reader may derive pro- 
fit from his descriptions. 

Our principal object is to introduce into our 
columns some of the illustrations of this work, 
which the courtesy of the author has permitted us 
to do ; and which may advantageously occupy our 
pages, at this season of the year, when matters of 
more immediate importance do not press upon us. 
We shall, from time to time, pursue the same 
course in reference to other works ; for, after all, 
it is bv means of these illustrated volumes that 
the public generally will be taught to appreciate 
excellence m the Arts. The more of them that 

* By William Beattie, M.D., &c. &c. Volume the 
first, illustrated by upwaids of 200 Views, taken on the 
spot. Publisher, J. Mortimer. 


are published, the better: 
and it is highly essential 
that a strict watch should 
be kept over them — so that 
they may be made really 
to improve the general 
taste. 

We have selected the 
engravings more with re- 
ference to the desires of 
our own readers than to 
their superiority among 
the collected series. The 
places described are those 
which artists ought to 
visit ; and, if they do so, 
they cannot have a more 
useful guide and companion 
than this book. The ap- 
pended engraving (below) is 
of Arundel Keep— the keep 
of one of the most famous 
of our English castles. It 
is now, although for so 
many ages the residence of 
a warlike garrison, aban- 
doned to the owls and the 
bats. 

The history of the castle, 
and of its lordly posses- 
sors for centuries — the 
Howards — has been writ- 
ten in a most agreeable 
style. It is full of racy 
anecdote, and the descrip- 
tive details are clear and 
comprehensive. 

As a companion to this 
print we introduce the Keep 
of Carisbrooke Castle, of 
which a valuable history 
is given, referring chiefly 
to tne stirring events of the 
reign of Charles I. 

The other prints which 
illustrate this ruin — be- 
sides the steel engraving 
of 4 The Castle from the 
North’ — are 4 The ancient Gate,’ 4 The ancient 
Donjon,’ 4 The Flag-staff Tower/ 4 The Norman 
Gate/ 4 The Garrison Well/ 4 Queen Elizabeth’s 
Tower/ 4 The Apartment occupied by Charles I./ 
the Window, one of the iron bars of which 44 he 


sawed through with his own hands,” and the 
4 Wicket of the Castle.’ The two last named we 
transfer to this column. 


We next select two views of the interior of 
Eltham Palace. The first pictures one of two re- 
cesses at either side of the dais, at the north end 
of the building. Each of these recesses still con- 
tains a beautiful bay window, the stone-work of 
which remains in a very perfect state. 


i 


i 

i 


i 


i 


i 


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There arc few of the old baronial houses of England so full of interest as 
that of Kenilworth — its history is, indeed, a romance. It is here written 
very circumstantially: the most striking and startling anecdotes connected 
with it have been culled from the old chroniclers ; and it has been largely 
illustrated by the pencil of the artist. 


Digitized by 


1842 .] 


THE ART-UNION. 


The interior was, until lately, used as a barn, and 
in this state it has been very skilfully copied by Mr. 
Prior. When we last saw it— a few weeks ago — 
it was devoted to a purpose even less worthy : the 
corn and hay had been removed, and the noble hall 
was filled with lumber — broken bits of machinery, 
worn-out farming tools, and logs of decaying timber. 


The history of the Roy- . . ^ 

al Palace of Eltham Is 

liam. It was formerly very extensive, covering many acres of ground. This gateway and the 
churc^l are now .^however , ail that remains^ of the once noble edifice. Its glories are with the past. 

here^ enjravecl, is considered the grandest in \ ^ ^ j 

in various instances u gradual alteration of style, 

ture, the entrance doorway, there is a remark- _ - - B] 

able diffeirnce between those in England and ’ 

and is surmounted by a circular, or rose window, 1 .'.Tlrfl A 

i of vrat diameter"- — 

The next engraviug we select is of an opposite class—* The Queen’s Cham- 
ber at Kenilworth,’ with the famous 4 Dudley Chimney Piece/ 


/'"TV ' JL 

Si 1 

* C 

ki- 5h 







262 


THE ART-UNION 


[Nov., 


THE ART-UNION OF LONDON. 

This being the time at which many artists are 
making their sketches and arranging their pictures 
for the ensuing season, we deem it incumbent on 
us to press upon their attention the large sums of 
money likely to be provided by this Association 
next year, for the advancement of the Arts, in 
order to encourage them to produce pictures 
worthy of the British School, and so to insure to 
the prizeholders a better field for choice than has 
hitherto been found. The sum appropriated by 
the Art-Union of London at the last distribution 
for the purchase of works of Art, namely, £8900 
(and which was increased by the prizeholders to 
about £10,000), was divided as follows : — 

For the purchase of sixty works of Art of the 
value of ten pounds each, forty works of Art of 
the value of fifteen pounds each, forty-four works 


of Art of the value of twenty pounds each, thirty 
works of Art of the value ot twenty-five pounds 
each, twenty-six works of Art of the value of 
thirty pounds each, twenty works of Art of the 
value of forty pounds each, fourteen works of Art 
of the value of fifty pounds each, ten works of 
Art of the value of sixty pounds each, eight works 
of Art of the value of seventy pounds each, six 
works of Art of the value of eighty pounds each, 
six works of Art of the value of one hundred 
pounds each, three works of Art of one hundred 
and fifty pounds each, two works of Art of the 
value of two hundred pounds each, one work of 
Art of the value of three hundred pounds, and 
one work of Art of the value of four hundred 
pounds. 

For the next year this same amount, if not 
more, may he safely calculated upon ; and we do 
therefore urge on the artists of Great Britain, 
especially the younger members of the profession, 
the importance of making a right use of the ad- 
vantages here held out to them. Let them sit 
down resolved to do their best, vigorously study 
and work out their subject, and aspire rather to 
produce one good picture, than many inferior 
ones. What the Committee said to the sub- 
scribers in their last Report may be usefully re- 
flected on by artists : — 

“To appreciate the highest efforts of Art, edu- 
cation ana study are necessary. The power to 
do this, and the manifold delights this power 
brings with it, do not come by inspiration, but 
must be sought for diligently. All can compre- 
hend the merit of a faithful imitation of a fami- 
liar object, — most persons can value representa- 
tions of special and individual nature, so to speak. 
These however, useful and delightful as they may 
be, are not the works which elevate the beholder 
and immortalise the artist ; it is universal and 
general nature which Genius grasps and de- 
lineates, — which exists everywhere in parts, no- 
where as a whole, — which, when represented, is 
called the Ideal, but is, in reality, Nature freed 
from the disfigurement of accidents and circum- 
stances, viewed at large and from on high.’' 

We would further quote the termination of the 
same Report, and will theu leave the matter in 
the hands of those to whom we appeal, satisfied 
that they will not misunderstand our remarks, or 
attribute them to any but the best motives ; — 

“ To the Artists of the United Kingdom gene- 
rally, your Committee, in concluding their Re- 
port, would point out the present scheme of prizes 
as an index in part of what the Art- Union of 
London may expect to require next year ; and they 
venture to express a hope that efforts will be made 
to produce, not merely pictures for the wants of 
to-day, but works for posterity. Simply a pecu- 
niary return for his labour and ability cannot be 
the aim of a true artist, of one proud to say, 1 I 
too am a painter.' To induce new ideas and 
images, to uphold and inculcate the beautiful, to 
influence the growing mind of a country, to enlarge 
and elevate the enjoyments of the world ; these are 
the motives which lead to fame, and may end in 
immortality. Let, then, our artists, inapplying to 
the task so prompted, address themselves to the 
mind, and, satisfied that their endeavours will not 
now pass unregarded, find their chief delight in 
the production of truth and beauty, and know no 
higher reward than the exercise of their art. Every 
step forward will be a source of increased gratifi- 
cation, and every fresh triumph will make suc- 
ceeding triumphs more easy." 

By reference to our advertising columns it will 


be seon that the Committee have offered a pre- 
mium for a series of ten outline designs, 12 inches 
by 8 inches, illustrative of some epoch in British 
history, or of some English author. The qualities 
aimed at are simplicity of composition and expres- 
sion, and correct drawing. In the event of obtain- 
ing a series of fine designs, of which we think there 
can be little doubt, it is proposed to engrave them, 
and present a copy, bound as a book, to each sub- 
scriber of some one year, in lieu of the annual en- 
graving. This step, which cannot fail to produce 
much good, is likely also to be popular with the 
subscribers. 

The Committee further give notice of their de- 
sire to purchase for £30, from one of the next ex- 
hibitions, a figure, or group, 15 inches high, care- 
fully finished in plaster, for casting in bronze. 
We have no doubt our sculptors will respond to 
the call. 

For the bronzes which were distributed at the 
last meeting, Flaxman’s fine group, * The Arch- 
angel Michael and Satan/ was selected. It has 
been reduced by Mr. Edward Wyon, and is ready 
for casting, so that prizeholders entitled to it may 
expect to receive their copy in a few weeks. A 
group by Sir Richard Westmacott, * Nymph and 
Child with Butterfly/ is to be reduced for 1843; 
and the group now advertised for will probably 
form the subject for the year after. 

With respect to the engravings, we are glad to 
find that there are three in a forward state of pre- 
paration, and a fourth commenced. ■ The Saints' 
Day/ however, intended for the subscribers of 
1841, should have been ready for printing from in 
March last; indeed the engraver, Mr. Chevalier, 
had bound himself to complete the plate by that 
time. Even now it remains unfinished, to the 
great annoyance of the Committee, and the no 
small discredit of the engraver, who is, and must 
have been, aware how important it is that the 
Committee should keep faith with the subscribers. 
It is to be hoped Mr. Chevalier will no longer 
delay the completion of his work. 

CORRESPONDENCE. 


THE CARTOONS. 

TO THE EDITOR OF THE ART-UNION. 

Sir, — In the Report of the Commissioners on 
the Fine Arts (p. 34) I observe the following re- 
mark: — “ The details given by Armenini on the 
preparation of the cartoon (l. 2, c. 6), and on the 
practice of fresco, are the more valuable, because 
they were derived from his own observations of the 
methods employed by the best masters." Having 
obtained a sight of Armenini’s work, I have found 
the above reference to be correct, and beg to offer 
you herewith a translation of the chapter on car- 
toons. There is perhaps little novelty in the 
methods described, but there is a satisfaction in 
knowing from an authentic source how the great 
artists worked. The first edition of Armenini's 
treatise, “ De’ Veri Precetti della Pittura,” is 
dated Ravenna, 1587 ; but many of the obser- 
vations appear to have been made during the 
author's youth, at a much earlier period. 

Yours, &c., L. 

*' In the hands of those who labour in the right 
direction, and who spare no pains to render their 
works complete, cartbons are found to be so useful, as 
a preparation for pictures, that the execution of the 
latter afterwards appears comparatively easy. For all 
sketches, drawings, studies mom living models, in 
short, all kinds of preliminary labour and research, are 
undertaken with a view to tne thorough execution of 
the cartoon in which they are combined. And to 
speak the truth to those who think such labours 
unimportant, and who, if they do undertake them, 
dispatch them carelessly, I say that such persons 
seem to take effectual means that their productions 
should be lightly esteemed by intelligent judges, and 
give the most open proof that they have little love for 
their art, and perhaps none for their own honour— a 
point assuredly to be regarded as highly as any other. 

41 In a well-finished cartoon we find the real diffi- 
culties grappled with in every particular, so that in 
following the forms thus arrested, the artist proceeds 
securely, having before him a perfect model of all that 
he has to do. In fact, the cartoon may be said to be the 
work itself without the colours; and for this reason we 
always find it completed with all possible industry and 
study by Michael Angelo, Leonardo da Vinci, Raffaello, 
Perino [del Vaga], Danieilo [da Volterra], and other ex- 
cellent artists. And 1 may here be permitted, having 
inspected the examples myself, to give such works the 
praise of consummate mastery; 1 appeal to the many 
specimens which are preserved in different cities, ana 


in the collections of inhabitants of rank, who justly set 
the highest value on them. 

44 The following is the usual mode of preparing and 
executing the cartoon. Having ascertained the di- 
mensions of the space where the painting is to be, 
sheets of paper of the proper quality are pasted toge- 
ther, so as to form the size required. When dry, paste 
is again to be applied about two fingers’ breadth round 
the edges, and the paper is then to be fixed to a clean 
wall. While the pasted borders are moist, water is to 
be sprinkled in the centre of the paper, which, in this 
damp state, may be properly spread ; urns the surface, 
when dry, remains equally strained. 

u The paper is then accurately squared, the divisions 
being made to correspond with the number of squares 
in the small drawing, and the design is carefully trans- 
ferred with all its details to the cartoon. Some artists 
disapprove of this method of squaring, asserting, 
frivolously enough, that they thus lose the spirit of 
their first design, and that it would be better to draw 
at once on the large space, trusting to the eye alone. 
This supposed advantage is not worth considering; 
for. however accustomed any painter may be to draw 
in large, it will hardly be denied that in expanding a 
composition of about a palm in length, or a little more 
(for such is the usual size of a sketch), to ten or some- 
times twenty feet, it is much easier to transfer it by 
means of squares, than without such an aid; not to 
mention the perspective appearances and the archi- 
tecture, all which are defined according to rule in the 
small drawing, and hence are easily transferred, in the 
same proportions, with little trouble. Why then en- 
counter useless difficulties, when the general forms are 
already fixed, and not only the general forms, but the 
place of every particular object ? the artist hating the 
certainty of their being in tneir true relative positions, 
without any confusion of lines ; for the multitude of 
lines commonly sketched, even by the most expert 
draughtsman, before the satisfactory form can be ar- 
rested, is thus avoided. 

44 It is right, however, to observe, that no one should 
depend so entirely on his first small drawing, nor on 
the enlarged outline in the cartoon, as not to exercise 
a due criticism, and to correct the forms accordingly. 
We have examples enough that in small drawings great 
errors may lurk undiscovered, but in large works every 
minutest incorrectness is exposed. On this account 
repeated investigation and correction are necessary, 
without caring about the relation of the lines to the 
squares; and this is the method which I have seen and 
studied again and again in comparing drawings and 
cartoons by Raffaello, Perino, Giulio (Romano), Da- 
niello, and Taddeo Zuccaro, and bv other excellent artists 
who are still living, and who all confirm the truth of 
what I have stated. 

44 But to return to the cartoons : they are executed in 
various ways and with various materials, as I have 
already observed in speaking of small drawings (1. l, 
c. 7); and although few are executed in water-colour* 
there are very finished examples in the other modes. 
Those who like to finish their drawings on white 
paper— the outlines being transferred as before de- 
scribed— might shorten the labour of producing their 
shadows, by means of a small bag or pounded char- 
coal or black chalk ; with this they should pounce the 
shadows lightly, repeating the operation for the darker 
shades. The tint should be so spread in different de- 
grees as to cover more than half the figure, and the artist 
should then proceed to hatch on these fiat shades with 
pointed charcoal or black chalk, repeating such hatch- 
ings throughout. This is to be done with that dex- 
terity and care which we see in the works of practised 
masters, as it affords evidence of expertness in good 
drawing. 

44 But besides the small drawing, which we suppose 
to be kept at band, another and a more important kind 
of study is now required before the work can be com- 
pleted. This consists in again resorting to all those 
means which are necessary in order to attain the ut- 
most certainty and intelligence in forms; the mate- 
rials are derived from nature with the aid of acquired 
style. and from small models, as elsewhere described. 
(See 1. 2, c. 5, where the use of small clay or wax models, 
to assist in studying the whole composition, is de- 
scribed.) Figures thus finished are found to have such 
force and roundness that they start from the cartoon, 
and artists, according to their industry and knowledge, 
may attain this excellence by adopting the thorough 
method of study here pointed out. 

44 The same means are employed for cartoons on 
tinted paper; but, in this case, it is sufficient, after 
hatching in the shadows, to rub them into a mass with 
the fingers, or with a piece of flannel or linen ; this is a 
method adopted by many before giving the last finish. 
It now remains to add the lights ; this requires to be 
done with judgment, so that they shall express the 
highest points of relief, with that gradation and ma- 
nagement which we observe in good examples. Some 
make pastels of fresh plaster of Paris with an equal 
quantity of white-lead (ground in water), and this gives 
the lights great vivacity. Others prefer using nothing 
but tailor’s chalk, while others again add white-lead to 
this for the lights on the most prominent points. By 
these means every great work m drawing is accom- 
plished. 

44 To preserve the cartoon, when it is necessary to 
trace the forms on the surface to be painted, the best 

* Common ink ; see 1. 1, c. 7. The ordinary Italian 
ink is, or soon becomes, of a brown colour. 


Digitized by 


;oogl 


1842 .] 


THE ART-UNION 


263 


mode is to punctnre the outlines with a needle, placing 
another cartoon underneath, which remains perforated 
like the upper one; and this punctured paper serves to 
pounce the outline as occasion requires, especially on 
fresh lime. Many, however, are not so nice, but trace 
the cartoon itself; this is still kept as a model, being 
Attest for the purpose, while the picture is executed in 
colours. 

44 1 hare now, ( believe, treated with sufficient clear- 
ness all those modes of drawing which I promised to 
explain, as the most necessary and easy, for the use of 
those who desire in a short time (tic) to become excel- 
lent ; by putting them in possession of every convenient 
resource for difficult undertakings. M 

THE OLDER MASTERS. 

Sir, — I avail myself of the medium of your use- 
ful periodical to make some inquiry about Richard 
Wilson, R.A. ; J. H. Mortimer, A.R.A. ; B. 
Vander Gutch, and J. Cleveley. All these artists 
have left behind various works of their respective 
merits, and of each we find some literary memo- 
randa in the dictionary by Bryan, “ Edwards's 
Anecdotes," "Cunningham’s Lives of Painters, 
Sculptors, &c. ; " but I seek in vain for the in- 
formation required in the published memoirs of 
these and of many other writers on the Arts. 

First of Wilson. I wish for accounts of some 
of his best portraits, and where they may be seen ? 
his intimacy and association with Mortimer; and 
in what pictures by the former were figures painted 
by the latter ? if there be any record or tradition of 
Wilson having painted a full-length portrait of 
Mortimer? This picture has been in my posses- 
sion many years ; and is a most valuable specimen 
of the artist, both in portraiture and in landscape. 
It is evidently a work of elaborate execution, in 
the face, hands, character, and colouring, whilst its 
landscape is in the finest and best style of the once 
unfortunate but now duly appreciated artist. The 
late Prince Hoare, James Christie, and Sir Thomas 
Lawrence, regarded and spoke of it as a work of 
unquestionable merit and beauty. There can be 
little doubt but it was a memorial of friendship, 
and worked up con amove. I am preparing to 

{ >rint a short essay on this picture, with a small 
ithographed print of it. 

By Vander Gutch I have a series of twelve small 
pictures, representing so many incidents in the 
adventures of Hudibras. They are slight, but 
smart, vigorous sketches, colonred in the true 
Venetian style, and some of them are equal in 
character, composition, and expression, to any 
works of the best masters. They certainly far 
surpass the designs of Hogarth for the same 
author ; yet I do not meet with any reference to 
this series of pictures, or to other designs by the 
same master, in Bryan or Edwards. 

Of Cleveley I find but very little recorded, yet, 
from a small picture in my possession, it is clear 
that he painted sea-pieces in a style superior to 
any of his contemporaries, and approaching the best 
works of A. Vander Velde. It represents a single 
vessel, riding on a gentle surge, with a dark sky, 
a distant piece of coast scenery, &c. 

John Britton. 

Burton-street, London. 

“OLD" PICTURE SALES. 

Sir, — You have often warned your readers 
against giving credence to the shameless decep- 
tions practised upon the public by a certain class 
of picture- dealers, in palming off upon them the 
vilest trash as genuine examples of the old mas- 
ters. 

An instance of this kind has just occurred in 
this town. A large number of paintings were offered 
for sale on the 12th inst., as you will see by the 
catalogue enclosed ; the title-page of which states 
them to be "The private Gallery of First Class 
Paintings, the property of a distinguished collec- 
tor.'* If the stock-iu-trade of a dealer from Lon- 
don may with propriety be denominated “ the 
private gallery or a distinguished collector," you 
will not be surprised, on looking further into this 
precious production, to find how it abounds with 
the greatest names known to Art— they are indeed 
“as plentiful as blackberries " — norat the eloquent 
and high-flown descriptions that wouldnot disgrace 
the pen of a George Robins. 

It seems that a proportion of these “first class 
pictures" were at one period the ornaments of the 
most renowned galleries — “ No. 18 was formerly 
at Fonthill," “ No. 20 is from the collection of 
Lord Radstock,” “ Nos. 30 and 34 are from the 
i Soult Gallery," “No. 46 was formerly the property 


of Lucien Bonaparte," “No. 47 belonged to Prince 
Poniatowski," and “No. 49, Rubens’s celebrated 
1 Garden of Love,' is from the Duke of Mantua's 
collection ; " No. 43 is from the celebrated Truck - 
sissian Gallery — a gallery of which I must own 
my ignorance, as well as of No. 42, from that of the 
Marquis of Beeti, and No. 62 from that of Bart 
Movna . 

Now I do think that this is a most deplorable 
state of things. Here is a catalogue, drawn up and 
deliberately published to the world, expressly cal- 
culated to mislead and deceive the public. Ic men 
are permitted to act thus with impunity, what, I 
would ask, becomes of our boasted superior mo- 
rality ? I am, &c. 

A Constant Reader. 

Sheffield, Oct 13, 1642. 

[If people will be cheated with their eyes open, we 
must say they deserve no sympathy . A person, who 
will buy for a few pounds that which purports to 
be worth as many hundreds, must either be a 
rogue himself, or know that he has a rogue to deal 
with. Such cases as this to which our correspond- 
ent refers are of weekly occurrence : we saw, not 
many months ago, a collection of “ ancient pictures 
by the great masters," consisting of twenty works 
offered by a dealer fora hundred pounds— any one 
of which would, if genuine, have been worth 
the hundred — a fact of which the dealer was 
of course fully aware. Several of them were 
pompously marked with the honoured names of 
the painters, upon whom they were forgeries. We 
have heard several singular anecdotes of forgeries 
of pictures — modern as well as ancient — and are 
endeavouring to collect a budget of them, which 
we shall hereafter publish ; some of our correspond- 
ents may add to our gathering.] 

GERMAN COMPLIMENTS TO 
BRITISH ART. 

We know not whether our readers will be most 
amused or angry upon perusing the following sin- 
gular document ; it professes to be a criticism on 
the latest Exhibition of the Royal Academy, and is 
published in the “ Kunst Blatt "—the great 
oracle of Art throughout Germany. We should 
have taken no notice of so miserably shallow a 
production, but that the journal in question is 
usually entitled to high respect, and the editor of 
it has acquired fame not alone in Germany, but in 
every part of Europe. The name of Kugler will 
be accepted as a sufficient guarantee for the integ- 
rity of opinions circulated in a journal under his 
control ; and no doubt on the continent they will 
consider that this tissue of abuse, without a single 
redeeming point, has received his sanction and 
approval. He is therefore, in a great decree re- 
sponsible for the false notions he has assisted to 
pass current ; and must at least hear his accusa- 
tion, as an “ accessary after the facts," of gross 
ignorance, injustice, and calumny : to take no note 
of the illiberally and want of generosity — a total 
absence, or concealment, of truth — that pervade 
the whole article. 

The author of the criticism is Dr. Henry Mere 
— a name unknown to us and to persons within 
our reach, who are more familiar than we are 
with the writers of Germany. Before we offer 
any observations upon his “Report" to his 
countrymen, concerning the capabilities and 
achievements of the artists of Great Britain, we 
shall print a translation of it. After giving the 
numbers of the works— in their several classes — 
exhibited at the Royal Academy in May last 
(which by the way contains two or three striking 
errors, although the writer took ample time to 
concoct his article, the paper in which it appears 
bearing date the 23rd of August), Dr. Henry 
Mere thus proceeds : — 

44 We shall make a few remarks as to the spirit and 
degree of development Art has attained in England, 
before speaking of the merit or demerit of the works 
themselves. 

44 It is not uninteresting to observe, in the descrip- 
tions in the catalogue, with what accuracy it is pointed 
out, that the figures represented are really the true 
portraits of the persona designed. So especially in two 
large pictures, the not very fortunate one of ‘The Trial 
of Charles I. in Westminster Hall,’ by H. Fisk, No. 
458, and 4 The Heroes of Waterloo,’ by J. P. Knight, 
No. 156. Of the first it is observed, that the portraits 
are all collected from private sources, and from the best 
authorities. The last gives the names of thirty generals 
and officers, the guests of the Duke of Wellington on 
the anniversary of the Battle of Waterloo, with all their 
titles and dignities. It is thus the English public 


learns to reckon by number and measure; and the 
ideal becomes if not an object of horror, at least it it 
considered idle and useless talk. 

44 On this practical ground there it imall apace for 
Fancy ; reduced and withdrawn into the every-day work 
of life, there is no room for her nor time for her in the 
real world : a wise man can employ bis time better, so 
a wise man resigns the idleness of fancy and imagina- 
tion. 

44 Thus goes, on one aide, the prosaic sober course 
of trade and bargain ; on the other hand imagination is 
sometimes lost and overwhelmed in airy dreams and 
empty sensibilities. 

44 Tims the art of painting, whose soul is fancy, 
becomes either a prosaic copy of materials laid before 
her. or if she creates, it is in a strange whimsical style 
without form or repose. 

"The collection of paintings, like the history of 
painting in England, generally, offers no indication of 
a world-important ana man-ruling idea, expressed in 
a complete and elevated manner. 

44 There is no clearness nor freedom of invention, no 
rich exercise of creative fancy, there is nowhere one 
great free production ; but all are either timid, con- 
s trained reminiscences, or else they are intoxications 
of imagination, compared with which the wildest pro- 
ductions of the French romantic school have sense, 
form, and strength. To this is joined the coquettish 
sentimentality of the English school. 

44 It sounds strange, yet it )9 true, that the people, 
from among whom a Shakspere came forth, can show 
no work in the pictorial art in which a free, lively 
imagination has given clear expression to an important 
thought. There ia wanting to them in this art, a sub- 
stantial agent, a living id* ality, a soul. 

44 Even where a creative fancy in Art exists, there is 
wanting the power of realizing it ; there is wanting just 
observation, true living study. The eye of the mind 
must see through the eye of the artist ; the spiritual 
glance must look through the bodily eye, and gofirstto 
seek the mystery of life in the world around. To the 
want of ideality is joined the want of the other agents 
of Art, reality and objectiveness. 

‘‘In reproducing objects materially, the English 
artists show remarkable want of power, strange pecu- 
liarities, naive individuality, and vain repetition. 

44 A few examples will convey our proposition— H. 
Getides intends, in No. 159, to paint a 4 Grecian 
Maiden at her Toilette,’ he has merely painted an Eng- 
lish miss. ‘The Bayadere,’ by J. B. Solomon, No. 16, 
is no further from London. Instead of a peasant youth 
this pencil can only produce a little fair-haired, rosy- 
cheeked, long nosed, and smiling young gentleman. 
Almost everywhere, there is a want of Just character 
and living nature; yet more deficient are the more 
formal productions in drawing, colouring, and drapery. 

44 So wanting are all the elements of the technical 
parts of Art, that it is difficult to imagine how fpr these 
74 years the Royal Academy has maintained its ex- 
istence and its exhibitions. If they were to choose for 
their motto the passage of Syinmachus, 4 Omne quod 
in cursu est viget.’ it should be translated, 4 Not all 
things that continue their course advance.’ Yea, gold 
cannot command everything. The Royal Academy has 
not yet established a school for very young pupils; 
they may be permitted to despair of the call of English 
genius to the art of painting. Have the gentlemen 
of the Academy themselves, this year, exhibited a 
single work of Art which is not so deficient in draw- 
ing, in style of drapery, and scholar-like colouring, that 
the lowest pupil at the Dusseldorf Academy would be 
ashamed to place it before the eyes of the public. Let 
any one contemplate the 4 Eve* of G. Patten, No. 345 ; 
in every part there is want of drawing, weak flesh 
tints, want of execution. The 4 Nymph Bathing,’ of 
C. Duncker, stiff, false drawing, really frightfully 
painted. Further, the disgusting 4 Bacchante’ of s. 
Drummond, No. 511, taken from the best journal 
of the fashions, and say if our judgment is not a 
temperate one. Opaque, dirty, lead coloured, chalky 
carnations ; no chiaro scuro, no modelling nor rounu- 
ness, no toning of tints, no melting, no depth, no clear- 
ness, no harmony of colouring, flat, base as if rubbed 
over with a sponge; where the colouring should be 
bright and strong, there it is the most injudicious, 
like a French smattercr,— such is the 4 Sea of Blood,* 
which J. M. \V. Turner, the academician, undertook 
to paint. Subjects without selection or care; the do- 
mestic and familiar accessories to these confined re- 
presentations of men, yet more negligent and licen- 
tious ; plants, foliage of trees rather daubed than 
painted; nowhere study, industry, or finishing; glare 
without brilliancy, bustle without spirit; in a word, 
boyish slovenliness: this is the rule. Compare with 
this the spirit, and life, and power, in the spectacle 
pieces of the French romantic school, or the conscien- 
tious prodigality of technical Art attained by earnest 
study and unwearied perseverance in the finished pro- 
ductions of our German school. M. Waagen, in his 
work on 4 Artists and Works of Art in England,’ says, 

4 English Art is without technical ground-work, and it 
has no living, high spiritual direction.’ This is pro- 
claimed by every inch of canvass in the exhibition more 
or less loudly. Fortunately for the German critic, he 
can find even in England a judgment expressed on the 
miserable progress of Art ; and we quote, with satisfac- 
tion, these words from the 4 Edinburgh Review :’ — 

4 England is only beginning to find how far she is be- 
hind in architecture, in painting, and in sculpture; in 
short, in all the Fine Arts.’ 




igitizi 


264 


THE ART-UNION 


[NOV.: 


“ Now. let us go nearer to see how the spirit of 
English Art expresses herself— only the more important 
works, by no means the exhausting sight of an exhi- 
bition or which the reader cannot judge, for to ex- 
amine well the works of Art which cover the walls from 
the floor to the roof, the reporter must use his knees 
and a ladder. 

“ Among the historical representations there is not 
one of decided merit ; they all fail in the great elevat- 
ing power which, by a clear expression of the soul, 
attracts all the world towards it. 

“Theatrical common motives, empty pathos, stiff atti- 
tudes, constrained and scattered composition ; no depth 
of character, no style in the lines ; tinlike or crushed 
draperies; bad colouring everywhere— these are the 
pretensions of the picture by J. R. Herbert, * First 
Introduction of Christianity into Britain,* No. 11. 
No. 106, 4 Belshazzar, 1 H. Bough ton, is the complete 
head of a monkey; as bad is S. Drummond, *1116 
Wreck of the White Ship ;* so is R. B. Haydon, No. 236, 

* Mary Qneen of Scots when an Infant,* &c. ; and * Ed- 
ward the Black Prince,' &c.. No. 404. Daniel Maclise, 
the academician, No. 62, * The Play Scene in Hamlet’— 
theatrical composition untrue, cold, gloomy colouring, 
quite mistaken chiaro scuro, and superficial execution. 
No. 71, * Ophelia.' R. Redgrave. This is better; here 
is expression and feeling, but careless in details, and 
the whole wants repose. No. 491, ‘ King Alfred sharing,' 
fcc., W. Simson. The woman and child are rather co- 
quettish. No. 648, A. Egg, * Cromwell discovering,* &c. 
Two pictures by W. H. Furze, No. 441, * The Christen- 
ing of a Jewess,' and 'The Marriage,’ &c., No. 1211, 
show excellent study. No. 485, * TheCovenanter's Mar- 
riage,' A. Johnston (the ceremony in the open country), 
is for composition, colouring, and execution, perhaps 
the best 

“The sentimental pencil appears next. No. 94, 

* Dorothea and Don Quixote,’ H. Le Jeune; No. 95, 
'Dorothea,' &c., T. Uwins; No. 92. ‘Poor Maria,’ 
&c., by the same; 4 Margaret alone,' &c., No. 
889, J. Poole, disagreeable ; No. 296, 4 Maria/ &c., 
J. O. Middleton. The scene in 44 Paul and Virginia,” 
where the body of Virginia, already begun to putrify 
(at least according to the paiuter). is thrown by the sea 
on the shore, ana found by Domingo, by H. J. Towns- 
end, No. 869, is not more disgusting than 4 The Death 
of Romeo and Juliet,' No. 535, by Pickersgill. Juliet 
lies with her lead-coloured face across the ground ; the 
mouth is stiff and without expression ; the colouring 
everywhere bad. 

“Yet more unfortunately are religious subjects 
treated. ‘The Magdalen,’ No. 6, W. Etty; No. 146, 
F. Danby ; No. 174, T. L. Honlton ; are not more sweetly 
distorted and coquettish than 4 Faith, Hope, and Cha- 
rity,’ No. 84, by H. Howard. No. 207, J. Phillips, 

4 Innocence;’ a little miss with n lamb; and No. 319, 
the insipid 4 Madonna and Child’ of Miss Emily 
Schmack. Crude and affected is the 4 Hagar* of W. H. 
Geddes, No. 306; and disagreeably coquettish the 
4 Child Samuel,' &c., No. 315, by J.’H. Wheelwright. 
H. S. Smith, No. 371, has painted 4 Ruth and Naomi,' 
portraits of a lady and her daughter; at least more 
presentable is the picture by W. Collins, No. 294 ; and 
some style is in the drawing of that picture by J. 
Bridges, No. 1206, * Joseph’s bloody Coat bronght to 
his rather;* and excellent study is shown in No. 379, 
by P. Williams, 4 The Convalescent.’ Of Biblical sub- 
jects we have 4 Aaron staying the Plague,* No. 294 ; 

* The Adoration of the Magi.' No. 397 ; 4 Christ blessing 
the little Children, No. 399, by F. Howard, have no trace 
of religions dignity or holy earnestness. ‘The Flight 
into Egypt,' by J. Martin, is a dawn in a solitary 
scene, with a singular effect of light. Nowhere is there 
a high consecration of the spirit to religious subjects. 

41 What is attained by the pictures 4 de genre?’ In 
this exhibition there are many, and almost in all 
there is a want of a clear view of nature and uncon- 
strained humour. The following rise s little from 
among the mass, although not finished pictures:— 4 A 
weary Soldier,' by the way. with a somewhat coquettish 
woman and a naive child, by J. Goodall ; No. 142, 4 The 
Grandmother;' No. 257, ‘The going to School, byT. 
Webster; 4 No. 181, 4 Poor Arabs,’ a fine sketch, by W. 
Muller; No. 295, 4 An Italian Widow selling her Jewels,’ 
by Severn; No. 421, 4 Moses going to the Market,’ from 
“The Vicar of Wakefield.” by Stonehouse; Nos. 522 and 
514, 4 Mischief,’ T. Woodward ; No. 537, 4 Who’ll serve 
the Queen ?* R. Farrer. 

44 Among the landscapes are not wanting a small num- 
ber, that if they do not show much correspondence to 
the old masters, yet deserve to be placed in the rank 
of works that require no common talent. Among these 
we may distinguish. No. 1224, 4 A Summer Landscape,’ 
by Boddington; No. 1228, 4 Baccarah,’ by E. Dean; 
No. 1228, ‘Corinth,’ by Linton ; No. 1204, 4 A View of 
the Rhine,’ by Stanley ; No. 113, ‘The Convent of St. 
Conmato, near Rome,’ by Howell; No. 115, ‘Evening 
on the Bank of the Tnames.* T. Cooper; No. 180, 
4 River Scene, Creawick,' 4 View of the Scheldt, at Ant- 
werp,* H. Lancaster ; No. 264, 4 Whitby Pier.* by A. 
Clint ; and lastly, 4 Broeckenhaven on theZuyaerZee,’ 
Cooke, No. 310. 

44 In animals and still life the exhibition is poor. 
Some portraits of favourite horses and favourite dogs 
are not deserving of much notice. The exhibition 
wants pulse and life ; and only a 4 Siesta,’ No. 262, by 
Calcott, the academician, deserves nearer observation. 
The critic has few words to spend on the 509 portraits : 
190 are large, 819 are small. Portraits are the weak 
aide of all exhibitions, especially here, where the want 


of originality is great in the heads, still more in the j 
pencils to make a portrait what it should be— an histo- 
rical picture. Among all these long headed youths, 
fair haired ladies, misses, and rosy children, the most 
are done in a spiritless mechanical manner, and cer- 
tainly often represented with an incredible technical 
awkwardness. 

44 The branch of architecture is very rich. The num- 
ber of edifices, especially churches, excites the talent of 
this profession. The drawings and plans exhibited, place 
the English architects above the English painters. 
But even here closer studies, with the rule, compass, 
calculation, and object, suit English genius better than 
the consecration of the pencil to the beautiful. No 
very remarkable originality is seen in the buildings. 
Whether in the edifices generally, or in the sacred 
buildings, we see a varied aeries of the ancient form, 
the romantic, the German, and the modern, by which 
we see how the Anglo-German national style is adapted 
for churchea, schools, hospitals, and other buildings, 
and is more and more felt to be so. 

44 Among 53 plans for the new church at Camberwell, 
only, the greater part are in the romantic and national 
English style. There are also exhibited various plans for 
the Exchange and the Houses of Parliament. Among 
these last is one by the architect, W. Campbell, who, 
in contradiction to the surrounding buildings (West- 
minster), has liberally adorned his plan with cupolas, 
pillars, and Greco-Italian forms in a situation so little 
adapted for them. 

44 Among the 143 works of 8culptnre, 100 pieces are 
portrait figures and busts. One of the most able artists 
appears to us to be W. C. Marshal. Of five works 
which he exhibits, we may notice No. 1270, 4 A Girl 
with a Broken Pitcher;' No. 1286, 4 Eve with her First- 
born ;’ but in this the conception is not an elevated 
one. No. 1287, 4 Venus rescuing Eneas from Diomed ;' 
a mere academy piece, theatrically treated. Not more 
happy it a group of ‘The Graces,’ T. Loft, No. 1181. 
There is something coquettish in the 4 Prayer* of P. 
Macdowell. No. 1295. No. 1293, 4 A Bacchante,’ by L. 
Macdonald, is better; so is the old Satyr taking out a 
thorn from a young man’s foot. No. 1303 ; a very fine 
bas-relief, representing 4 Bacchus and Silenus,’ is by J. 
Filial ns. 

44 Further, we do not remark any work beyond the 
common academical rules and handywork. No soul 
or spirit passed into the marble, nor a Promethean 
spark struck by the chisel and hammer of creative 
artistic power from the patient mass.” 

Here then is the deliberately recorded Report of 
a German 44 Commissioner of Inquiry” concerning 
the state of the Fine Arts in England : perhaps it 
would be difficult to work out of a collection of 
newspaper slanders— if such a thing were collected 
— so garbled a statement, or one so utterly opposed 
to truth — opposed to truth in the letter, and still 
more in the spirit. 

We have no right to quarrel, and do not quarrel, 
with Dr. Henrv Merz, on the ground of his 
opinion. His liking or disliking the productions 
of our British artists is a mere question of taste ; wc 
could scarcely have been justified in expecting the 
dull and heavy German to appreciate aught that 
was not as leaden in colouring, as stiff, formal, and 
inanimate (with but two or three exceptions), and 
as unmarked by originality as are the productions of 
his own school — coldly correct, it is true, but seldom 
enlivening the fancy, touching the heart, or in- 
vigorating the soul ; borrowing all that is good in 
conception, all that is grand in invention, and all 
that is true in execution, from the rich legacy of 
the old masters ; and bringing to bear upon the 
copied thoughts only such dry and spiritless (how- 
ever necessary) knowledge as may be picked up by 
wooden-headed apologies for Genius in academies 
for teaching drawing knowledge that is most 
essential beyond doubt, but which bears about the 
same analogy to veritable mind as the power of 
computing numbers did to the invention of the 
steam-engine. 

As we nave said, we have no quarrel with Dr. 
Henry Merz because he did not like our Exhibition, 
and could see nothing but what was unequivocally 
wretched in the 1409 works of Art he examined in 
the gallery of the Royal Academy, some time in the 
month of Mav last. We know that often the 
senses have oad appetites ; that some eyes derive 
pleasure only from objects that are black; that 
some ears prefer the braying of a donkey to the 
lulling music of the ^Eolian harp ; and that others 
prefer the scent of a dung-heap to the odour of a 
bank of violets. We have a homely proverb — 
44 Every one to his liking, as the old woman said 
when she kissed her cow no doubt Dr. Henry 
Merz was at perfect liberty to be pleased or dis- 
pleased ; he needs no other excuse than that of 
Shylock, when he preferred 44 a weight of carrion 
flesh” to a bag of ducats — 44 he’ll say it is his 
humour 1" 

But we protest against this p$eudo “ Criticism” 


upon other grounds. It is written in a most un- 
worthy spirit, and with a deliberate resolve upon 
falsehood. No one who reads it can hesitate to 
arrive at this conclusion. In his five or six pages 
of “criticism” there is no mention whatever made 
of any of our leading artists, except Maclise, who 
is dismissed with an insult — but who has more of 
the greatest of all the intellectual faculties— In- 
vention — than the whole of the German School 
put together. Not a word of Eastlake— an artist 
grander in conception and greater in execution 
than them all ; and let them borrow the best of 
France to eke out the lot. Not a word of Land- 
seer— the German 44 critic” saw his picture of 
4 the Sanctuary’ — unless it be meant to apply to 
him the compliment that the exhibition 44 con- 
tained some portraits of favourite horses and dogs j 
not deserving of notice.” Not a word of Leslie, . 
nor of Mulready, nor of Calcott, except that one 
work of his 44 deserves nearer observation” than 
some others. Neither Stanfield, Roberts, nor 
Lee, receive the smallest notice ; and Cress ick is 
dismissed with half a dozen syllables of the 
smallest possible praise. Etty, indeed, obtains a 
sentence — but only one of condemnation. Of 
artists who have obtained professional distinction, 
second to these, there is scarcely one which the 
44 critic” condescends to name ; we need not go 
through the list — it is a long one— of painters, 
who, m the higher qualities of the Art— however 
inferior they may be in its more mechanical 
branches — may be the masters of the masters of 
all those who 44 by earnest study and unwearied 
perseverance” have accomplished 44 the finished 
productions of the German School.” 

We have named the British artists — some of 
them at least — of whom Dr. Henry Merz does not 
speak : let us see of whom he does say something. 
There are four or five upon whom he falls foul, 
with whose existence this critic brings us, for the 
first time, acquainted. Such as Mr. Duncker, 
Mr. Boughton, and Mr. Houiton— painter* who 
no doubt contributed to the Royal Academy ; for 
we find their names in the catalogue ; a fact of 
which we were for a time sceptical. These gentle- 
men, and Mr. Soloman, Mr. Drummond, Miss 
Emily Schmack, and half a score others of equal 
calibre, are selected by him from among the ex- 
hibitors to justify his censure upon the exhibition, 
and to prove his assertions as to the utterly worth- 
less character of the whole mass. While for praise 
he pursues much the same course, when he does 
praise ; and it appears that Messrs. Furse, Dean, 
and Howel — painters of whom we never heard un- 
til this “criticism” was laid before us — arc the 
artists who are to be considered on a par with the 
artists of Germany. 

This is not simply disingenuous, nor merely 
unfair ; it is a fraud upon his countrymen ; a dis- 
honest breach of trust ; a scandalous attempt to 
mislead their judgments by pandering to their 
vanity and stimulating their self-love. 

We say nothing of the insult to this country and 
to its artists, to which M. Kugler has lent the 
sanction of his respected name. It is to be 
lamented — chiefly because much good might result 
from cultivating a kindly feeliug and a mutual 
esteem between the artists of two countries, now 
more closely united than they have ever been ; it 
is to be lamented also as an outrage upon that high 
principle which should distinguish meu occupied 
in a high calling — in a pursuit which, above all 
others, demands generous sentiments; and it is to 
be lamented especially, as supplying another proof 
to the world how mean and degraded an intellectual 
man may become who is willing to sacrifice large 
and general, to narrow and partial, considerations. 

We condemn the example ; and shall be the 
last to follow it. We shall cordially welcome 
to England the collection of works of Art we are 
promised from Germany, and as cordially rejoice 
if it be found excellent. 

We may, possibly, recur to this matter next 
month, and print a translation of the critic’s 
comments upon the Society of British Artists in 
Suffolk. street ; merely for the present observing 
that, if the acute, discriminating, and trustworthy 
critic is to be believed, it is far more honourable 
to Great Britian than the Exhibition of the Royal 
Academy. H. 


265 


IMS.] THE ART-UNION. 


REVIEWS. 

The Environs of London, Part IV. Bv John 
Fisher Murray. Blackwood and 8ons. 
The maps contained in this number of the work 
are 4 4 The River Thames from Hampton to Staines/’ 
and the 44 South-western Railway from Nine-elms 
to Wey bridge ;” and they comprehend the loca- 
lities described in the text, among the heads of 
which are Bushy Park, Hampton, Wimbledon, 
Walton, Kingston, Chertsey, Ac., Ac. : the plan 
of the work being to describe the places according 
to the order of their contiguity, and to embody 
anecdotes and brief memoirs of persons, the me- 
mory of whom associates with the places. We are 
at Hampton accordingly reminded of Garrick, by 
a. few paragraphs of light gossip about him and his 
▼ilia, which, although presenting nothing new, are 
nevertheless agreeable. A cut is given of the villa, 
of which we believe Dr. Johnson made a re- 
mark to Garrick himself, who was showing the 
place in the pride of his heart, to the effect that 
such things tended to fix irrevocably the affections 
of men upon the goods of this world. 

There is nothing in a varied course of light read- 
ing more winning than Topography, seasoned with 
the biographical sprinklings which are akin to it ; 
and we envy not the man to whose heart the stones 
of a country church-yard are voiceless. 44 We are 
now at Wimbledon, and we must pause to look 
about us,” says the text before us. The inha- 
bitants of London know little of Wimbledon, save 
as the modern pr£ aux clercs — the scene of the 
honourable adjustment of disputes — a sort of trial 
by powder and shot, somewhat like the.trials of the 
middle ages. When Ali Pacha asked an English 
guest, wearing a militia uniform, where he had 
served, the reply was, twi rov Ko/xoy 

44 upon Wimbledon -common but Ali did not 
seem to remember the battle ; nor is it here 
mentioned, although everything of local interest 
seems to be touched upon. 

There is something highly interesting iu the his- 
tory of all these places, each having at one time 
or other been signalized by the residence of royal 
or distinguished persons. The Porch House, at 
Chertsey, was the abode of Cowley , the poet, whom 
Pope, in his 44 Windsor Forest,” laments— 

44 Who now shall charm the shades where Cowley strung 

His living harp, and lofty Denham sung?” 

St. Anne’s Hill is known as the residence of the 
late Charles James Fox, to whose memory a ceno- 
taph was placed by his widow in Chertsey church. 
The number contains numerous woodcut vignettes, 
many of which are of high excellence. 

We shall review this work again— probably in- 
troducing some of its wood -cats — when the volume 
is completed. 


Gil Blab and Camilla. Painted by T. M. 
Joy. Engraved by G. Zobkl. Published by 
S. Hollyer. 

A clever print, from one of Mr. Joy’s capital pic- 
tures — of which he has painted many — from the 
itory of Gil Bias. The scene describes the mo- 
ment when the Lucretia of the tale admires and 
covets the glittering ring upon the finger of the 
simpleton. It is full of true character : the 
engraver has done it jnstice ; the work is wrought 
with care and finish; and, as we imagine be is 
young in his profession, this production may be 
considered as affording safe promise of distinction 
hereafter. 

Guide to the County of Wicklow. 
Belfast, and Guide to the Giant’s Cause- 
way. Published by Curry aud Co., Dublin. 
These little illustrated guides are very neatly got 
op ; and they afford ample information to tourists 
to the most beautiful and the most wonderful of 
the scenery of Ireland, a country rich in materials 
for the artists, to which we hope many of them 
will bend their steps. It is marvellous, however, 
how the guide-book makers manage to give us dry 
details, without ever finding their fancy awakened 
or their enthusiasm aroused. Here we have every 
foct worth noting — all needful instruction as to 
various routes, with exceeding accuracy as to 
distances — but not a line that may lure the tra- 
veller into visiting places so grand and picturesque 
— the bare thought of which, for a moment 
makes ns long more to be among them than all 


these pages put together. The works are from the 
press of Messrs. Curry and Co., of Dublin, to 
whom the literature of Ireland is largely indebted. 

His Royal Highness the Prince Albert. 
Engraved by H. T. Ryall, from a Painting by 
G. Patten, A. R. A. Published by Graves 
and Warmesley, Pall-Mall. 

This is the large full-length portrait of the Prince, 
which our readers will recollect at the Exhibition 
of the Royal Academy in 1841. The picture has 
since, however, undergone considerable altera- 
tions and improvements; and Mr. Ryall has per- 
formed his portion of the work with the taste, 
skill, and judgment for which he is distinguished. 
It represents his Royal Highness dressed in 
princely magnificence as a Knight of the Garter ; 
and his fine manly figure, gentlemanly bearing, 
and kind and intelligent countenance are aptly 
poortrayed. The work is of great size, designed, 
we imagine, to class with the grand state portrait 
of the Queen, by Chalon, and as a 44 companion” 
to that work it will be an acquisition; for our 
own parts, however, we should prefer to look at 
an engraving from one of the exquisite miniatures 
by Mr. Ross. 


Tribute to the Memory of Sir Christo- 
pher Wren. By C. R. Cockkrill, Esq., 
R.A. Publisher, Alex. Hill, Edinburgh. 
Few publications of modern times are at once so 
interesting and valuable as this; a 44 tribute” 
indeed, to the memory of the great British 
architect. The issue of such a publication reflects 
honour upon the enterprising publisher of Edin- 
burgh. It is a collection of the mighty works of 
the English master of the art, grouped with skill 
and effect, so as to place each in as favourable a 
position as was possible ; to afford a correct notion 
of the particular character of each ; and to pro- 
duce an agreeable picture out of a mass of build- 
ings. In the foreground are, Temple-bar, and the 
several structures of minor size ; occupying the 
middle ground, are the several churches, Ac. of 
London; and in the back ground, towers St. 
Paul's. It is difficult to conceive the exceeding 
beauty of the print ; the artist has contrived to 
introduce into it, the most perfect harmony — 
distributing the various structures so skilfully and 
judiciously that at first sight every one of them 
seems to be in its proper place ; and, in their happy 
combination, to form a grand city of noble and 
graceful structures— such as the imagination may 
create, or the glorious architect may have seen in 
his dreams. A finer tribute to genius has never 
been erected. Truly his works live after him. 
To the artist of any class this print is a most im- 
portant acquisition ; and equally so to all lovers 
of the sublime and beautiful. Few have an idea 
that the works of Sir Christopher Wren amouiited 
in number to 62. ( They are all introduced into 
this assemblage — in London, Oxford, Cambridge, 
and elsewhere. The engraving— in line— has 
been executed by Mr. Wm. Richardson. In this 
respect also, it is the work of a master. We 
therefore cordially adopt a passage from the pro- 
spectus : — 

44 This magnificent work, which excited gene- 
ral admiration at the exhibitions of the Royal 
Academy of London in 1838, and of the Royal 
Scottish Academy in 1839, embraces, in one 
gorgeous and picturesque composition, exquisite 
and correct representations of upwards of sixty 
public structures, the work of that greatest of 
British architects, whose memory and genius it is 
designed to hallow and commemorate; and has 
been admitted to form one of the most elegant 
tributes ever paid by living to departed genius.” 

The Eve of the Deluge. Painted and en- 
graved by John Martin, Esq. Publisher, 
Gilbert, Sheffield. 

This, also, is the publication of a provincial pub- 
lisher ; and affords evidence of a liberal and en- 
terprising spirit. It forms an excellent com- 
panion to either of the many fine mezzotint prints 
executed by Mr. Martin— the designer and en- 
graver. The picture is the property of the Prince 
Albert, to whom the print is dedicated. There 
are those who prefer Martin in 44 black and white” 
to Martin in colours ; here, at least, his brilliant 
fancy has ample scope ; and in poetic conception 
and fortuity of invention he is certainly unsur- 


passed, if be be equalled, by any living painter. In 
this work he has endeavoured to 44 pourtray his 
imaginings of the antediluvian world, and to re- 
present the near conjunction of the sun, moon, and 
a comet, as one of the warning signs of approach- 
ing doom.” In the distance are the ocean and 
the mountains ; on a lofty promontory is the Ark : 
in the middle ground are the 44 forest trees and 
in the foreground are 44 caverns and tents — the 
people revelling.” Upon a cliff, a groan has 
assembled — Patriarchs and the family of Noah, 
anxiously gathered round Methuselah, whom, by 
a poetic licence, the artist has made to live until 
the 44 Eve of the Deluge.” He is here repre- 
sented as dying. 


The Widow’s Son. Painted by Overbbck; i 
lithographed by Leon Noel. Publishers, 
Graves and Warmesley. 

This is a work of the highest possible merit; and 
one which it is to the honour of the publishers to 
have introduced into England. It isacAe/ d* centre 
of the great German painter, copied with fine 
effect by a competent artist ; and to all true lovera 
of the excellent in Art it will be a rare and valu- 
able acquisition. The story ia emphatically told ; 
the figure and expression of the Saviour are ad- 
mirable — a little less of calm confidence in the 
assembled group may be desirable ; but the draw- 
ing is exquisitely fine, and the whole composition 
reaches very near perfection. We rejoice to find 
such works increasing among us : they will essen- 
tially serve the British artist, and gratify as well 
as instruct all classes. 

Elementary Perspective. By F. J. Raw- 
lins. Published by Tilt and Bogus. 

This work contains six plates, with numerous dia- 
grams and explanatory letter-press. The first 
three are devoted to parallel perspective, of which 
numerous examples are given— as of arches in per- 
spective, arches from two centres, circles. Ac. 
The three latter plates are similarly arranged with 
examples of angular perspective, and explain acci- 
dental points and proportional lines ; the perspec- 
tive of pediments or gables, circular fronts, cres- 
cents, &c. Ac. The work is an abbreviation of 
what has been, in many instances, expanded into 
volumes. 


Heraldry of Fish. By Thomas Moule. 

Published by John Van Voorst. 

We trust that the author of this work will reap 
from it a reward adequate to the amount of labour 
which he has bestowed upon his subject, although 
it appears scarcely a theme of sufficient general in- 
terest to create an extensive demand. By diligent 
and patient research, a mass of information is here 
collected, comprehending the bulk of piscatorial 
bearings and cognizances, and among them, of 
course, the insignia of tl le famous coat which 
Slender , in a boastful humour, multiplies into 
twelve luces, but which Mr. Moule limits to three. 
In looking over the 44 Heraldry of Fish,” we are 
forcibly reminded of the archaic devices to which 
our ancestors had recourse in professing them- 
selves armigeri , so many of these distinctive adop- 
tions being what are termed canting arms, or 
armes par lan let , or pictorial punning on names ; 
and often erroneous and overstrained in their ap- 
plication. Among the simplest instances of these 
scaly quips, we may mention the arms of the 
family of Soles— three soles naiant : the bearings 
of Shelley— sable, a fess engrailed between three 
whelks ore; which remind us of Scarron, who, 
when he weftt to Chalons to eat carp stewed in 
champagne, declared his arms to be— argent three 
carp naiant in pale Champagne. 


TO CORRESPONDENTS. 

For permission to study in the Dulwich Gallery, ap- 
plication should be made to S. Denning, Esq., the 
keeper ; and to do so in the National Gallery, we pre- 
sume, to — Segur, Esq. ; In both these places, however, 
only a fixed number are allowed to study at the same 
time. 

Our correspondent in 44 Worcester” may be assured 
that we shall obtain the information he requires as 
soon as we can. 

R. H. must excuse our declining to pr osecute the 
subject of “ Vehicles” for a time. 


266 


THE ART-UNION 


[Nov., 


ARTISTS, PRINTSELLERS, AND OTHERS, 

Are respectfully informed, that 

C. F. BIELEFELD 

Has formed 

A LARGE COLLECTION OF NEW AND ELEGANT 

DESIGNS FOR PICTURE FRAMES, 

IN THE 

IMPROVED PAPIER MACHE. 

The superiority of these Frames consists in their havingall the effect of old carved work; many of the 
Patterns represent exactly the finest carvings of the 17th Centnry. The small Frames are far less liable to 
injury than pulley work, PapiorMache being a remarkably tough and hard substance, it never shrinks, and takes 
gilding very freely ; the Frames do not weigh one quarter the weight of others, and the Price is below that 
usually charged. Many Specimens are now on View at C. F. BIELEFELD’S Papier Mach* Works, No. 15, 
WELLINGTON -STREET NORTH, STRAND; where also Pattern-Books may be bad, price Its., consisting 
of a variety of Patterns of Picture and Glass Frames, and Window Cornices, already executed, and on Sale. 


PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, &c. — THOMAS BROWN begs 
to return his sincere thanks to his numerous Cus- 
tomers for the approbation they have so universally 
bestowed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— ne, his father, and bis predecessor, having 
been the favoured servants of the Royal Academy from 
its formation, and having the honour to supply all the 
Presidents to the present time. 

These Jubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm, 
climates. 

Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
turer of every Material for Painting in Oil and Water, 
163, HIGH HOLBORN, London. 

N.B.— The Trade are respectfully cautioned from 
dealing in any imitation of the above Tubes, as ail 
venders are egually liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
words *' BROWN’S PATENT” on the Cap and Nozzle, 
and are warranted not to ii\jure the most delicate 
colours. 


DIMES AND CO. (late WARING and DIMES), 
ARTISTS’ COLOURMEN, 91, GREAT RUSSELL- 
STRKET, BLOOMSBURY. 

F DIMES begs to inform the Profession, 
• that the PARTNERSHIP subsisting between 
himself and Mr. George Waring has been DISSOLVED 
by mutual consent, and that in future the Business will 
be continued under the name of DIM F.S and CO. 

To those Gentlemen who have given their patronage 
to the late firm, he begs to return his grateful acknow- 
ledgments, trusting to have their continued support, 
assuring them that all the articles he manufactures ana 
sells shall receive every attention to insure the best 
quality. Subjoined is enumerated a few Articles, to 
which attention is respectfully requested 
CANVASS WITH INDIA RUBBER GROUND.— 
The eligibility of this article having been thoroughly 
acknowledged, and it having received the patronage of 
the first artists in the kingdom, those gentlemen who 
desire that the labours of their pencils should be pre- 
served from the effects of time (too visible in some of 
the finest productions of the Art), this Canvass is par- 
ticularly recommended, as it is never subject to crack 
or peel, and the surface is very agreeable to paint on. 

HAND’S PATENT COLLAPSIBLE METALLIC 
TUBES FOR OIL COLOURS.— Mr. J. Rand, toe In- 
ventor and Patentee, and Manufacturer of the Collap- 
sible Metallic Tubes, having thrown them open to the 
trade, D. and Co. beg to state that they can supply 
them filled with oil colours in any quantity; alto, tubes 
of Vnrmshes, M’Gueip. and Asphaltum. 

Zinc Tablets for Painting in Oil.— The surfaces of 
these Table! s are well adapted for highly-finished paint- 
ings, and superior to panels or milled boards. 

Water-Colours in Cakes or Moist, filled in mahogany 
or japanned boxes for sketching. 

Whatman’s Drawing Paper, all sizes and thicknesses. 
J. D. H., ditto. 

Tinted or Academy Paper, in great variety' of tints 
for chalk or pencil. 

Genuine Cumberland Lead Pencils, warranted of 
pure lead. 

Chalks and Crayons of all descriptions. 

French, Hog, and Sable Hair Brushes for Oil and 
Water-Colour Painting. 

Marble Slabs mounted, prepared for Miniature Paint- 
ing. 

Drawing Boards. Easels, T Squares, and every article 
for Architectural Draughtsmen. 

Drawings and Paintings lent to copy. 


C HIMNEY GLASSES, PICTURE 
FRAMES, CHEVAL and TOILET GLASSES, 
CONSOLE TABLES, WINDOW CORNICES. 
SCREENS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 
WORKING CARVER and GILbER, 19, ST. MAR- 
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offer them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
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prices of Plate Glass, &c. sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on hand, at reduced 
prices. 


RAND’S PATENT 

METALLIC COLLAPSIBLE TUBES 

FOR OIL COLOURS. 


J RAND, the Inventor, Patentee, and sole 
• Manufacturer of tbe above, during the time they 
were known to the profession solely under the name 
of “ Brown’s Patent,” has made arrangements with 
Messrs. Winsor and Newton, of 38, Rathhone-place, 
by which that firm are supplied by him with Tubes 
of the same description as those so long supplied by 
J. Rand to Mr. Brown.— August 1st, 1842. 

WINSOR and NEWTON, of 88, RATH BONE- 
PLACE, respectfully announce, that they have on sale 
Oil Colours in Rand’s Patent Collapsible Tubes, whole- 
sale, retail, and for exportation. 

l — - — 

THE PATENT EASEL. 

TXHNSOR and NEWTON respectfully in- 
▼ Y form the Profession and the Public, that thia 
admirably-constructed Easel, the invention of M. Bon- 
homme, of Paris, is manufactured by them with con- 
siderable improvements on the French model, and 
with the advantage of the beat English workmanship. 

W. and N. are induced to submit this Easel to the 
Profession in England by the high encomiums and 
great patronage bestowed upon it in France, where the 
ingenious Inventor, not only obtained a prize for the 
merits of his Easel at the National Exposition of Manu- 
factures and Inventions, but also received from the 
Government a liberal reward for the assistance he ren- 
dered to the Professors of Art. 

Though possessing the advantages of the largest 
Easels, Dy standing firmly and holding steadily paint- 
ings of a very large size, M. Bonhomme’s invention 
occupies no more space than the smallest of the Artists’ 
Easels now in use, and certainly not so much as the 
greater number of them. 

The position and height of a painting may be ad- 
justed with the utmost facility by a novel arrangement, 
which permits even unusually large works to be, when 
placed on this F.asel, as much under control as smaller 
ones. The painting can also be sloped or thrown for- 
ward to any angle most favourable for the view, and 
this forward inch nation can be adjusted with ease and 
exactness. 

It presents a neat nnd even elegant appearance, and 
is peculiarly fitted as well for all purposes of exhibition 
as for the studio; affording the utmost convenience for 
the advantageous display of large or small works. 
The connoisseur who desires to exhibit his gems of Art 
in a manner adapted to make the most favourable im- 
pression, obtains in the improvements here brought 
forward an auxiliary hitherto much required. 

The Easel to be seen at WINSOR and NEWTON’S, 
Artists’ Colourmen to Her Majesty and His Royal 
Highness Prince Albert, 38, Ratnbone-place, London. 


M ILLER’S SILICA COLOURS. 

The daily in creasing patron age bestowed bn these 
Colours by Artists of tbe first eminence, while it is 
gratifying in tbe highest degree to the inventor, is, fit 
the same time, an acknowledgment of the soundness of 
those principles upon which they are manufactured. 
It will be sufficient to repeat that, being composed of 
substances identical or similar to those used by the old 
masters (the brilliancy' of whose works, alter the lapse 
of centuries, is an inconteatible proof of the superiority 
of ancient colouring), the Silica Colours will ever 
retain their freshness, transparency, and gem-like 
lustre uninjured by atmospheric influence and unim- 
paired by time. 

Prepared for Oil and Water-Colour Painting of the 
under-mentioned tints, viz : 


Pale and Deep Red. 
Pale and Deep Blue. 
Pale and Deep Yellow. 
Pale and Deep Green. 
White and Half Tint. 


Crimson and Olive. 
Pale and Deep Orange. 
Pale and Deep Purple. 
Pale and Deep Brown. 
Grey and Black. 


VAN EY'CK’S GLASS MEDIUM. 

FOR OIL PAINTING. 

No. 1. For first and second painting. 

No. 2. For third painting, finishing, and glazing. 

Any of the above Media may be thinned, according 
to the taste of the Painter, with Miller's Venetian Oil. 


MILLER’S GLASS MEDIUM. 

FOR WATER-COLOUR PAINTING. 

No. 1. For first colouring. 

No. 2. For second colouring,' glazing, and finishing. 

Any of the above Media may be thinned, according 
to the taste of the Pointer, with Miller's Proydor. 

T. M. begs to call the attention of Artists to his new 
Drawing-Paper, made of pure linen only, without Under- 
going any chemical process. 

MILLER’S PROYDOR. 

FOR SKETCHING AND PAINTING IN WATER 
COLOURS. 

This liquid is intended to supply the place of water 
in the above Art. It causes the colours to amalga- 
mate and blend kindly with each other ; removes alt 
stains or greasy particles from tbe surface of Miniature 
Tablets, Ivory, or Paper ; and if, in tbe progress of the 
painting, it be found desirable to take out or alter any 
portion of the Picture, the application of this Liquid by 
itself will accomplish it without injury to the surface. 

Manufactory : 56, Lono-acrk, London. 


T O MINIATURE PAINTERS, &c. — W. 

WARRINER, 39, GREAT CASTLE STREET, 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASES, and GLASSES, 
of all sites, shapes, ami patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatinrly 
patronised him ; begs further to inform them that be 
has a variety of new patterns, which, for quality and 
price, defy all competition. A great variety of Mats, 
Cases, and Glasses always ready, or speedily made to 
order. 

The Trade, Merchants, and Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 


ELEGANT AND ORNAMENTED PICTURE 
FRAMES OF A SUPERIOR DESCRIPTION, 
WARRANTED TO CLEAN. 

C J. ECKFORD, 45, FLEET-STREET, 
• comer of Mitre-court, Temple, opposite Fetter- 
lane, begs leave to inform Artists, the Trade, and 
Public, that they can obtain A LARGE AND CLEAR 
EXPLANATORY SHEET OF DRAWINGS, with 
numerous elegant Patterns, tbe Size and Pricesattacbed 
to the various Frames, sent gratis and freeof postage to 
anv part of the United Kingdom. 

Old Frames re-gilt ; large anil small Miniature Frames 
at proportionate prices. Fancy-wood Frames of every 
description. Orders from the country punctually at- 
tended to. ESTABLISHED 1792. 


SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and tbe Trade, 
that they can be supplied with PICTURE FRAMES, 
of the verybest manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory*, may be baa gratia, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods takes back, not approved of in 
three months. 


1842 .] 


THE ART-UNION 


267 


T WO LETTERS to an AMATEUR or 1 
YOUNG ARTIST, on PICTORIAL COLOUR 
and EFFECT, and the means to be employed for their 
production. By Robert Hexdrie, Esq., jun. Price 5s. 

Published and sold by Simpkin, Marshall, and Co., 
Stationers’ Hall-court ; and T. Miller, Artists’ Colour- 
man, 56, Long-acre. 


Just published, price 16s., 

T HE SKETCHER’S GUIDE; a light and 
portable Apparatus for Drawing Landscape, and 
other Outlines, in Perspective, without Elementary 
Knowledge. To which is added, a Compendium of the 
Rules of Perspective and Effect. 

By W. F. Elliot, Esq. 

There are few persons, unacquainted with the art of 
Drawing, but have (either when travelling, or at other 
periods of their lives) had frequent occasion to lameut 
that deficiency. The difficulties in the way of sketch- 
ng objects correctly, without a knowledge of the laws 
which regulate Optical Perspective, have been so great, 
and hitherto so forcibly felt, as to be considered hi- 
superable. Messrs. Fuller, however, are happy to an- 
nounce, that, in “ The Sketcher’s Guide,” they have 
perfected an apparatus, extremely simple, and as porta- 
ble as a hand-book, by means of which those obstacles 
are overcome; and any person, by simply attending to 
the printed instructions, may draw Landscapes, or other 
objects, as faithfully as they are presented to the eye. 

And, in order to simplify and encourage the study of 
Perspectiveand pictorial Composition, they have added 
to the above a Synopsis of the Rules of Perspective and 
Effect; clearly and popularly written, and containing 
numerous Illustrative Examples. 

To persons travelling, either on the Continent or 
elsewhere, “ The Sketcher’s Guide” will be an inva- 
luable companion ; as, by its assistance, there is not a 
single scene of interest but may be secured, to give 
birth to pleasurable, if not useful, reminiscences at 
some future period. The student in Drawing and Per- 
spective will also find it an important help. It will 
facilitate his progress by demonstrating practically the 
application of the rules he may have learnt theoretically. 
At the same time, the letter-press and illustrations will 
teach him the most approved methods of combining 
and treating his subjects to compose a picture. 

Orders should be immediately given to Messrs. Ful- 
ler, 34, Rathbone-place, or through any Book or Print- 
seller in Town or Country. 

London: Published by S. and J. Fuller, at their 
Temple of Fancy and Artists’ Repository, 34, Rath- 
bone-place. 


O AK CARVINGS for CHURCH 
DECORATIONS, &c.— Me>srs. BRAITH WAITE 
and CO., Proprietors of the patent method of CARV- 
ING in SOLID WOOD, beg leave to invite the No- 
bility, Clergy, and Architects, to view their Specimens 
of Oak Carvings, suitable to the Gothic Embellish- 
ments of Cathedrals and Churches, such as Stalls, 
Panelling, enriched Tracery, Chairs. Communion-rails, 
Tables, Altar-screens, Pulpits, Reading-desks, Lecterns, 
Stall- heads, Finials, Organ-screens, Gallery-fronts, &c., 
at one half the price usually charged. 

Estimates given, and conti acts entered into, for the 
entire fitting-up, restoration, or repairs, of any Ca- 
thedral, Church, or Mansion. 

By their process a most important saving in expense 
and time will be found in the fitting or repairs of 
Churches or Mansions, either in the Gothic or Eliza- 
bethan style, in any description of wood. It is equally 
applicable to Elizabethan or Gothic Furniture, such as 
Cnaira, Book-cases. Cabinets, Tables, Picture- frames, 
Coats of Arms, Mouldings, &c., &c.— No. 5, HEN- 
RIETTA-STREET, COVENT-G ARDEN. 


C ASE OF URGENT DISTRESS. — llie 

attention of the generous and benevolent is 
earnestly entreated to the following case:— Mr. James 
Egan, the eminent mezzotinto engraver, died in the 
month of October, leaving three children, of the ages of 
13, 11, and 7. utterly unprovided for. He had long 
struggled with difficulties in his profession, which he 
had Just been enabled to overcome, having received the 
public approval, and that of the publishers, for his re- 
cent works, more especially for bis engraving after 
Cattermole’s * English Hospitality in the Olden Time,’ 
when death deprived his family or a protector, the Arts 
of a valuable assistant, and his friends of an associate, 
for whose amiable qualities and considerable talents they 
entertained the highest esteem and respect. U nder these 
circumstances, public sympathy ana assistance are 
earnestly applied for : and it is confidently hoped that 
aid will be supplied oy the charitable, who appreciate 
British Art, in order that his young and interesting 
children may be rescued from present want and future 
misery. 

Subscriptions for this truly benevolent purpose will 
be received by Mr. F. G. Moon, Threadneedle-street, 
publisher; Mr. A. W. Bailey, Cornhill, publisher; 
Messrs. Graves and Warmsly, 6, Pall-Mall, publishers; 
S. C. Hall, Esq.. F.S.A., Barrister-at-Law, Rosery, 
Old Brompton ; Jonn Lucas, Esq., painter, 3, St. John*s 
Wood-road, Regent’s-park; Mr. C. E. Wagstafi', en- 
graver, 14, Hastings-street, Burton-creacent ; Mr. R. 
Lloyd, printer, Pear Tree Cottage, Holloway, 


In One Vol., small 4to., tastefully bound, price 81s. 6d., 

T he book of British ballads. 

Edited by S. C. Hall, F.S.A. This work consists 
of British Ballads taken from the collections of Percy, 
Evans, Ritson, Pinkerton, Scott, Motherwell, Jamieson, 
Buchan, Herd, and others, by whom they have been 
gathered with so much industry and care ; and, also, 
from sources comparatively unexplored by the general 
reader. No attempt has hitherto been made to select, 
and arrange in a popular form, the best of these bal- 
lads from the several volumes in which they are scat- 
tered, and where they are mixed up with a mass of in- 
ferior or objectionable compositions. 

CHEVY CHASE; illustrated by J. Franklin; en- 
graved by Linton, Smith, Landells, Armstrong, See. 

THE CHILDREN IN THE WOOD; illustrated by 
J. R. Herbert, A.R.A. ; engraved by Green. 

FAIR ROSAMOND; illustrated by Franklin ; engraved 
by T. Williams, Miss Williams, Walmsley, Evans, Itc. 

THE DEMON LOVER; illustrated by J. Gilbert ; en- 
graved by Folkard and Bastin. 

THE NUT-BROWN MAYD; illustrated by T. Cres- 
wick, W. B. Scott, Sic . ; engraved by Williams, &c. 
KEMPION ; illustrated by W. B. Scott ; engraved by 
Smith and Linton. 

THE CHILD OF ELLE; illustrated by J. Franklin; 
engraved by Williams. 

THE TWA BROTHERS; illustrated by W. P. Frith; 
engraved by Bastin. 

THE BLIND BEGGAR; illustrated by J. Gilbert; en- 
graved by Vizetelly. 

ROBIN GOODFELLOW; illustrated by R. Dadd; 
engraved by Green. 

SIR PATRICK SPENS; illustrated by J. Franklin; 
engraved by Armstrong. 

GIL MORICE ; illustrated by K. Meadows ; engraved 
by Smith and Linton. 

SIR ALDINGAR ; illlustrated by J. Gilbert ; engraved 
by Gilks and Folkard. 

SIR LANCELOT DU LAKE; illustrated by E. Cor- 
bould ; engraved by Smith and Linton. 

KING ARTHUR’S DEATH ; illustrated by J. Frank- 
lin; engraved by Green, Nicholls, Williams, Sic. 
THE HRIRE OF LINNE; illustrated by E. M. Ward ; 
engraved by Bastin. 

LORD SOULIS; illustrated by R. Me Ian; engraved 
by Smith and Linton. 

LORD THOMAS AND FAIR ANNET; illustrated by 
H. T Townsend ; engraved by Folkard, Branston, Sic. 
FAUSE FOODRAGE ; illustrated by T. M. Joy ; en- 
graved by Miaa Williams. 

GENEVIEVE; illustrated by J. Franklin; engraved 
by Armstrong and Nicholls. 

FAIR MARGARET AND SWEET WILLIAM ; illus- 
trated by H. Warren; engraved by Jackson. 

THE BIRTH OF ST. GEORGE; illustrated by W. B. 

Scott; engraved by Folkard, Vizetelly, and Armstrong. 
THE MERMAID; illustrated by J. Franklin; en- 
graved by Green, Nicholls, Branston, Walmsley, &c. 
LORD ULLIN’S DAUGHTER; illustrated by E. Cor- 
bould ; engraved by S. Williams and J. W. Whimper. 
SIR AGILTHORN ; illustrated by Redgrave, A.R.A ; 
engraved by Walmsley, Bastin, Branston, &c. 

JOHNIE OF BREADISLEE; illustrated by Sibson; 
engraved by Linton. 

THE DOW IE DENS OF YARROW ; illustrated by 
J. Franklin ; engraved by F. Branston and E. Evans. 

Each ballad is preceded by two pages, giving its his- 
tory, and supplying such information concerning it as 
the Editor Has been enabled to obtain. Into these 
pages are introduced, generally, the airs to which the 
ballads are sung ; and any pictorial illustrations that 
may serve to explain the text. 

Each ballad js illustrated by one artist, and in every 
instance the design is drawn by him on the wood ; 
and the work thus exhibits examples of the genius of 
a large proportion of the most accomplished artists of 
Great Britain. 

The supremacy of our English engravers on wood is 
universally admitted: this important department of 
the Work has been entrusted only to artists of acknow- 
ledged skill and eminence ; and the whole of the illus- 
trations of a ballad have been confided, as far as pos- 
sible, to one engraver. 

The aim of all parties engaged in the production of 
the Work has been to render it worthy of the Country' 
and of the Arts.- 

London : J. How, 132, Fleet-atreet. 


M R. T. R. DAVIS, well-known as an ANI- 
MAL PAINTER, having received, during 20 
years’ experience, the Patronage of the Nobility, wishes 
to give Private Tuition to any Gentleman who may 
feel desirous of receiving Instruction in that Branch 
of Art. 

Address, Messrs. Winsor and Newton, Rathbone- 
place; or, at Mr. Davis’s Residence, No. 2, Pieschell- 
place, Cambridge-terrace, Edgware-road. 


L 'ALLIANCE des ARTS, rue Montmartre, 
No. 178, Paris.— Administrator, M. A. Walois: 
Directors, Messrs. Paul Lacroix (Bibliophile Jacob), 
for Books; T. Thord, for Pictures; Judiciary Council, 
MM. Bouclier, Notary; E. Lacroix, Solicitor; Philip 
Dupin, Barrister; Batailliard and Commandeur, Ap- 
praisers; London Correspondent, Mr. Joseph Thomas, 
1, Finch-lane. 

Objects of the Society The purchase in whole or 
part of libraries, picture-galleries, collections of art, 
&c., valuation of such collections, preparation of cata- 
logues, simple, descriptive, and classified, by persons 
of the highest reputation in each department ; publicity 
in the French, English, and other journals, as also in 
the Bulletin de l’AUiance des Arts; direction and care 
of sales by auction ; commission for the guarantied 
purchase at public sales of books, paintings, objects of 
art, &c. ; exchange of these objects by private contract 
between individuals and public collections in France, 
England, and other countries. 


T O NOBLEMEN, GENTLEMEN, AMA- 
TEURS, and COLLECTORS of PAINTINGS, 
RARE BOOKS, and WORKS of ART.— The following 
CATALOGUES, prepared by the Directors of the Al- 
liance des Arts, rue Montmartre, Paris, may be ob- 
tained gratis, on application to Mr. Joseph Thomas, 
No. 1, Finch-lane, Cornhill, London; others are in 
course of formation :— Catalogue of the Numismatical 
and Archeological Library of the late M. T. E. Mionnet, 
conservator of the cabinet of medals in the King’s Li- 
brary, member of the Academy of Inscriptions and 
Belles Lettres, author of the De&criptiou des Mtklaillea 
Antiques, &c. ; catalogue of drawings, by the great 
masters of Italian, Spanish, German, Flemish, Dutch, 
and French schools, from the cabinet of M. Villenave, 
member of several learned societies. 'The particulars 
as to place and time of sale are attached to the cata- 
logues.— Le Bulletin de l’Alliance des Arts is published 
on the 10th and 25th of every month, sad may be sub- 
scribed for at 12s. per annum, with Mr. Thomas. 


N OTICE.— PATENT RELIEVO LEATHER 
HANGINGS and CARTON-TOILE OFFICE, 
52, Regent- street, next to the County Fire Office.— The 
Nobility and Public are respectfully informed, that our 
Works of Art in the PATENT RELIEVO LEATHERS, 
the CARTON-TOILE, &c., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 32, 
Regent- street, where in immense number of Designs 
are constantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels. Caryatides, 
Foliage, Patterns, Busts, Mouldings, Book Covers, 
Album Covers, Screens, &c., &c., in every style of 
Decoration, and for every possible use to which orna- 
mental leathers can be applied, and at a considerable 
reduction in price. We beg to notice, that this Firm 
only will continue to receive monthly from us all new 
Patterns and Designs in our manufactures. 

L. COMETH ana CO., 10, Rue Basse du Rem part, 
Paris.— May 25, 1842. 


N E 


WLY INVENTED SKETCHING 

PENCILS. 


BB. Very black for the foreground. 
HB. Middle tint. 

N. Neutral tint, for distance. 


E. WOLFF and SON beg to recommend their new 
invented BLACK CHALK PENCILS and CRAYONS, 
which will not rub off or smear. They are richer in 
colour and superior in working to any other Pencil 
hitherto known. The great advantage derived from 
these Chalks, are their capability of producing effect 
with little labour, combined with their adhesive quali- 
ties, which will admit of the drawings being kept in a 
portfolio without fear of smearing. 

May be had of all Artists, Colourmen, and Stationers ; 
and at the Manufacturer’s, 23, CHURCH-STREET, 
SP1TALFIELDS. 


P OOLOO’S CHINESE CEMENT.— The 

extraordinary properties of this Composition 
make it one of the most useful articles ever presented 
to the public. It is perfectly impervious to hot or cold 
water, and will resist the effects of the most intense 
heat. So firm is it in its hold that a new fracture is 
certain to take place rather than a severance in the 
original. Thus it surpasses all other Cements for 
mending China, Glass, Ivory, the setting of Stones and 
Beads in Rings and Trinkets, &c.— Sold, wholesale and 
retail, in bottles at IS. 6d., 2s. 6d., 4i. 6d., and 7s. 6d., 
by the Proprietor’s sole agents, BLOFELD and Co.. 
Cutlers and Razormakers, 6, Middle-row, Holborn fana 
by their appointment, at the principal Chemists and 
Perfumers. BLOFELD’S Loudon made Table Knives 
at BLOFELD and Co.’s, 6, Middle-row, Holborn. 


268 


THE ART-UNION. 


[Nov., 1S43. 


WEST-RIDING ART-UNION. 


The extraordinary popularity and success which have attended the 
transactions of the Society, denominated “ THE ART-UNION,” in this 
country ; the great benefit derived from its operations, both to Art and 
Artists ; the talent which it has been the means of eliciting and fostering, 
and the feeling for Art which it has caused to be engendered in many 
cases, and in many others improved ; the liberality with which it has been 
supported, and the various channels that have by its agency been opened 
for compensating the labours of British Genius ; stamp this Institution 
as the most important existing evfdence of the rapid growth of a taste for 
Art in this Kingdom. 

. It was, indeed, a happy idea, that a trifling individual subscription 
might accumulate a fund sufficiently large to purchase annually some of 
the best productions of the English School of Painting, the chance of 
possessing which should be within the power of every supporter of the 
Institution, at the same time that he had a certainty of an equivalent for 
his contribution, in a specimen of Graphic Art well worthy of acceptation : 
to the full valne, indeed, of the amount of his subscription. 

Under these circumstances, and with the view of rendering the ad- 
vantages of the system above adverted to more directly available to his 
townsmen and others, Mr. Gilbert begs to announce that he has made 
arrangements for establishing an ART-UNION for Sheffield and the 
West- Riding. In embarking on an enterprise of so arduous a character, 
he ventures to solicit the support aud co-operation of his Friends and 
the Public, confident that his plan offers advantages which merit their 
especial notice. 

In the first place, without wishing to say anything to the prejudice of 
the Institution in London, the general scheme of which it is his intention 
to adopt, so far as circumstauces will admit, he would observe that those 
subscribers to the West-Ruling Art-Union who may happen to be Prize- 
holders, will be enabled to select Pictures without either having to incur the 
expense of a journey to London, or to delegate their choice to a Committee ; 
who, however competent they may be to judge of the merits of Pictures 
as Works of Art, cannot be expected to suit the particular tastes of indi- 
viduals for whom they may be commissioned to select, both as to style 
and subject, so exactly as the individuals themselves. Secondly, every 
Subscriber of One Guinea will, in addition to the chance of obtaining a 
Painting, receive an Engraving of such excellence, as will, it may be 
confidently asserted, very far surpass any of the Art-Union Plates which 
have been hitherto issued. And thirdly, all the Subscribers will receive 
their Plates immediately on the payment of their respective Subscriptions , 
instead of having to wait for them eight or twelve months, as is the case 
in similar Institutions. To this important feature of liis plan Mr. Gilbert 
begs to direct especial attention : it is one which cannot fail to give uni- 
versal satisfaction, inasmuch as the subscribers will be at once enabled 
to estimate the value of the work procured, which, to say the least, 
will be equivalent to the Guinea he subscribes ; and at a subsequent and 
not distant period, he will have, in addition, the chance of obtaining a 
Painting by some eminent British Artist, selected by himself of between 
the value of Ten Guineas and Two Hundred Guineas. 

With reference to the Paintings to be submitted for competition, Mr. 
Gilbert begs to state that he has peculiar opportunities for obtaining 
from artists in London and elsewhere a number of Works of first-rate 
excellence, and of varied subjects and styles, for exhibition and selection ; 
moreover, he wishes to be distinctly understood that Prize-holders will not 
have particular Pictures allotted to them, but that they will be allowed to 
select for themselves to the amount to which they may be entitled upon 
the drawing. The number and amount of Prizes will, of course, depend 
upon the amount of money to be subscribed. The Pictures will be sub- 
mitted to Public Inspection at Mr. GILBERT'S “ REPOSITORY OF 


THE FINE ARTS,” in the New Public Building in the Court opposite 
the top of Chapel Walk, Fargate, Sheffield, as soon as possible after the 
removal of Mr. Danby’s Painting of 4 The Opening of the Sixth Seal/ 
which is now exhibiting. The Drawing is intended to take place in the 
Music-Hall, Sheffield, under the superintendence of a Committee, to be 
elected for the purpose on some day to be hereafter determined upon. In 
the meanwhile Mr. Gilbert begs to state, that it will be his object to 
conduct the undertaking on such spirited, and at the same time equitable 
and honourable, principles as will ensure for him the confidence and good 
opinion of all those who may favour him with their support 

Until the Opening of his Repository, in Fargate, Subscribers’ Names 
will be received at his Book and Print Establishment, Eyre-street, comer 
of Charles-street For every Guinea subscribed, parties subscribing will 
receive, at their option, a copy of Watt’s splendid line engraving, after 
Leslie, R.A ,of ‘May Day in the Reign of Queen Elizabeth/ or the mezzo - 
tinto engraving by Lucas, after Isabey, of * The Return to Port* These 
Plates, it may be asserted without fear of contradiction, have never been 
surpassed in their respective styles by any that have yet been published. 
As the Plates will be delivered when the Subscriptions are paid, Mr. G. 
would impress upon those parties intending to subscribe the advantage 
of sending in their Names at as early a period as possible, in order to 
secure the best impressions. In order to convey to the Public some idea 
of the high character of the Engravings, Mi 4 . G. may state that he lias 
been honoured by receiving, in the course of a few days’ stay in London, 
the Names of upwards of Fifty Subscribers, many of whom are eminent 
for their taste and skill in connexion with the Fine Arts. Subscriptions 
are received in London, by Messrs. Graves and Walmsley, Print Sellers 
to the Queen, Pall Mall; Mr. James Bohn, Bookseller, King William- 
street; Messrs. A. H. Baily and Co., Publishers, 83, Cornhill; and Mr. 
How, at the Office of the “Art Union,” 132, Fleet-street. 

Mr. G. begs to state, that he has already made arrangements for 
receiving Pictures for his West-Riding Art-Union, from the following 
eminent artists : — 


W. Allan, Esq., R.A. 

W. Brigstock, Esq. 

W. Brockedon, Esq. 

A. Clint, Esq. 

A. Cooper, Esq., R.A. 

T. S. Cooper, Esq. 

Ed. Corbould, Esq. 

T. Creswick, Esq. 

R. B. Davis, Esq. 

A. Frazer, Esq. 

H. Gastineau, Esq. 

S. A. Hart, Esq., A.R.A. 

B. R. Haydon, Esq. 

J. F. Herring, sen., Esq. 

T. B. Howard, Esq. 

T. M. Joy, Esq. 

W. B. Kearney, Esq. 


Edwin Landseer, Esq., R.A. 
John Martin, K.L. 

R. R. Mclan. Esq. 

D. M'Clise, Esq., R.A. 

H. P. Parker, Esq. 

J. B. Pyne, Esq. 

D. Roberts, Esq., A.R.A. 

W. Salter, Esq., M.A.F. 

W. Shayer, Esq. 

C. Simson, Esq. 

J. Simpson, Esq. 

C. Stanfield, Esq., R.A. 

F. P. Stephanoff, Esq. 

H. J. Townsend, Esq. 

J. Ward, Esq., R.A. 

W. E. Ward, Esq. 
and others. 


In addition to these remarks, Mr. Gilbert presumes to direct attention 
to the fact that the County of York — the largest, and it may be said the 
wealthiest of the English Provinces — is peculiarly calculated to give 
prosperity to the establishment of an “ART-UNION” Society. It it 
indeed matter of astonishment that Yorkshire should have been so long 
without one, while they have flourished in so many other counties: 
and he calls upon his friends and the Public generally, to remove tbit 
reproach from their County. 


! 


MR. GILBERT 

Has the honour to Announce, that he is about to Publish immediately a most Splendid ENGRAVING, by JOHN MARTIN, K.L., from hit 
Original Picture of ‘THE EVE OF THE DELUGE/ in the Possession of His Royal Highness Prince Albert, which is to be Dedicated to His 
Royal Highness by his express wish. Price to Subscribers:— Proofs before Letters, £3 3s.; Lettered Proofs, £2 2s.; Prints £1 Is. 

A Proof Impression may be seen, until the Opening of his Repository in Fargate, at J. G/s Establishment in Eyre-street, Sheffield. As the PUtea 
wQl be delivered in the strict order of Subscription, an early Application will be necessary to secure the finest Impressions. 

* . i 


bmdooi— Printed at the Office of Palmer and Clayton, 10, Crane Court, Fleet Street, an 1 Published by Jsrbmiah How, 132 , Fleet Street.— November 1 , ISIS, 



THE 


PAINTING 
SCULPTURE 
ENGRAVING 
ARCHITECTURE 
Ac. &c. &c. 


ART-UNION. 



EXHIBITIONS 
FOREIGN ART 
PUBLICATIONS 
PROGRESS OF ART 
&c. &c. &c. 


A MONTHLY JOURNAL OF THE FINE ARTS. 


No. 47. 


LONDON: DECEMBER 1, 1842. 


Price Is. 


THIS JOURNAL BEING STAMPED , CIRCULATES , POSTAGE FREE , TO ALL PARTS OF THE UNITED KINGDOM. 


B RITISH INSTITUTION. PALL-MALL.— 

NOTICE TO EXHIBITORS. 

All Pictures, &c., intended for EXHIBITION and 
SALE the ensuing Season, must be sent for the in- 
spection of the Committee, on Monday, the 16th, and 
Tuesday, the 17th of January next, between the hours 
of Ten in the Morning, and Five in the Evening; after 
wbich time no Picture or other Work of Art will be 
received. Portraits and Drawings in Water-colours 
are inadmissible. 

N.B. No Picture will be received for Sale that is not 
bonfi. fide the property of the artist. 

William Barnard, Keeper. 

rpo THE PUBLIC.— The COMMITTEE of 
X the ART-UNION of LONDON, having had their 
attention directed by numerous Correspondents to some 
recent announcements of Art-Unions— purporting to 
resemble in principle this and similar associations 
already established, but which are in reality com- 
mercial speculations for individual benefit — deem it 
their duty, in order to prevent misapprehension, by 
which serious mischief might be done to a valuable 
means of advancing the Arts, to state broadly, that this 
Society was established solely with the disinterested 
view of disseminating a love of the Fine Arts, pro- 
moting their progress, and elevating the public taste. 
No gentleman connected with its management has the 
slightest personal interest in the purchase of Works of 
Art, or can possibly derive any advantage, pecuniary 
or otherwise, therefrom ; so that there is no subor- 
dinate end of an individual nature to serve. The Com- 
mittee cannot but view with distrust any scheme 
which, under the guise of such a principle as this, 
seeks to assume for individuals actuated by pecuniary 
motives, an influence which might place Art ana 
Artists in a state of thraldom likely to be productive 
of most serious consequences. 

The Society’s Prospectus, and all other information, 
may be obtained at the Office, No. 4, Trafalgar-square, 
Charing-cross, and of any of the local Secretaries 
throughout the Country. Subscribers of the current 
year will receive, in addition to the chance of obtaining 
a valuable Work of Art, a Line Engraving by Mr. L. 
Stocks, from Sir A. W. Calcott’s Picture, * Raffaelle 
and the Fornarina.’ — An early Subscription is in- 
vited. The Duke of Cam bri doe— President. 

George Godw in, F.R.S., F.S.A., j Hon. 


Secs. 


Lewis Pocock, F.S.A., 

Nov. 22, 1842. 

T ~ ll E ROYAL IRI S H ART- U N ION.— 
TICKETS for 1843, may now be obtained in 
London, by applying to Messrs. D. and P. Colnaghi, 
Pall-Mall; Mr. C. Roberson, 51, Long- Acre ; Messrs. 
Graves and Co., No. 6, Pall-Mall; Messrs. Colnaghi 
and Puckle, Cockspur-street ; or Mr. Ackermann, 191, 
Regent-street. 

T HE ARRAN FISHERMAN’S DROWNED 
CHILD, byF.W. Burton, Esq., R.II.A. This 
fine work, about to be engraved for the Royal Irish 
Art-Union, 1843, may be viewed for a short time at 
Messrs. Graves and Co., No. 6, Pall-Mall, where Tickets 
and every information may be obtained. 

D rawing and painting. — Artists 

and others are informed that the SCHOOL, at 
14, TOTTENHAM COURT-ROAD, is now Open for 
the Winter Season. Antique Class on Monday, Wed- 
nesday, and Friday Evenings, from six to ten. Life 
Class, on Tuesday, Thursday, and Saturday Evenings, 
from half-past seven to lialf-past nine.— Terms : Life 
Class, One Guinea per Quarter ; Antique, Half-a- 
Guinea. To both Classes, 25 Shillings. 

William Barter, Hon. Sec. 


ESTABLISHED 1829. 

T he art-unions of Germany, Ber- 
lin, DUSSELDORF, and DRESDEN, under the 
Patronage of H.R.H. the Duke of Sussex, H.R.H. the 
Duke of Cambridge, and the Nobility. The price of a 
Subscription Ticket, in either of the above Associa- 
tions, is 20s. each, which will entitle the holder to one 
copy of the Annual Presentation Engraving, which will 
be delivered immediately after the drawing, free of 
duty and carriage, and also a chance of obtaining a 
work of Art, value from ^10 to j*r300. 

The Engravings, which are executed in the very’ first 
style of Art, are exhibited daily at the German Repo- 
sitory, No. 9, Newman-street. 

The Subscription List to the Art-Union of Dresden 
will close on Saturday, the 10th inst. Two beautiful 
Prints will be presented to each Subscriber on the 10th 
of January, 1843, viz 

• The Power of Music/ after Professor Rietschel ; and 
‘ John of Leyden, administering Bsytism to an adult 
Female at Munster, in Westphalia, in the presence of 
his enthusiastic Followers,” after Baehr. Size, 21 in. 
by 16 in. 

A Prospectus can be obtained, or forwarded free, upon 
application to 

Henry Her i no, Secretary, 

9, Newman-street, Oxford-street, London. 

F rames for art-union prints. — a s 

every Subscriber to the “ London Art- Union” 
will very shortly obtain possession of the Print issued 
by the Society, and as to frame it in an elegant, and 
not costly, manner, will be a most desirable object to 
many of the possessors, Mr. BIELEFELD begs to an- 
nounce that he has prepared a Frame expressly for 
the Print of the ‘Saint’s Day’— the presentation print 
of the London Art-Union. It is manufactured of 
Papier Machc, a lighter, more elegant, and more durable 
material than any hitherto use I for this purpose. 

Papier Maclie Works, 15, Weilington-sireet North, 
Strand. 


V IRTUOSI PROVIDENT FUND, 

AND 

DEALERS IN THE FINE ARTS’ BENEVOLENT 
INSTITUTION. 

PRESIDENT. 

H. Woodbum, Esq. 

VICE-PRESIDENTS. 


George Ackermann, Esq. 
William Chaplin, Esq. 
Dominic Colnaghi, Esq. 


E. H. Baldork, Esq. 
E. Hull, Esq. 

TREASURER. 

William Smith, Esq. 


Henry Graves, Esq. 
J. H. Jarman, Esq. 
Peter Norton, Esq. 


I John Wnrmsley, Esq. 
j W. G. Rogers, Esq. 

SUB-TREASURER. 

Mr. H. Rodd. 


AUDITORS. 

Mr. E. Evans. Mr. E. Radcliffe. 

COMMITTEE. 


Messrs. Thomas Andrews 
Henry Cureton 
William Far re r 
John Harris 
Richard Lambe 
John Moore 
Thomas .VLean 


Messrs. Henry Rogers 
Henry Palser 
Samuel Pratt 
James Robinson 
Thomas Rutley 
John Webb 

&C. &C.&C. 


UNDER THE SUPERINTENDENCE OF THE 
COUNCIL OF THE GOVERNMENT SCHOOL 
OF DESIGN AT SOMERSET HOUSE. 

(To be continued every alternate month) price 3s. 6d., 
The Fourth Number of 

A DRAWING BOOK; containing 
Elementary Instructions in Drawing, and illus- 
trating) the Principles of Design as applied to Orna- 
mental Art. 

The Council have arranged that this work shall be 
sold at a price little exceeding the cost of production, 
so that, as far as possible, i( may come within the reach 
of all classes of persons desirous of Instruction in 
Drawing and the Art of Design. 

The First Part is to be devoted to Elementary In- 
struction, and will exhibit a course of Outline Drawing 
(including both Geometrical and Free-hand Drawing) 
and Shadowing, illustrated by numerous examples, us 
well modern as ancient, so as to form a complete 
Course of Instruction in Ornamental Design, prelimi- 
nary to Drawing from Nature. The series of examples 
for Outline Drawing will be comprised in Five Num- 
bers, each containing Fifteen Sheets, accompanied by 
Descriptive Letter-press. 

Chapman and Hall, 196, Strand. 

T WO LETTERS to an AMATEUR or 
YOUNG ARTIST, on PICTORIAL COLOUR 
and EFFEC T, and the means to be employed for their 
production. By Robert Hendrik, I\sq.,jun. Price 5s. 

Published and sold by Simpkin, Marshall, and Co., 
Stationers’ Hall-court; and T. Miller, Artists’ Colour- 


man, 56, Long-acre. 


Tliis Institution was founded in June 1642. Its ob- 
ject is, the establishment of a Fund for the permanent 
assistance of Ficture-dealers, Printsellers, Coin-dealers, 
Picture Restorers, and Dealers in Works of Art and 
’Curiosities, and their Assistants; and for the temporary 
assistance of members, their widows, and children— 
when in necessitous circumstances. 

Persons properly qualified and approved, having 
bren nominated by two members, paying a subscrip- 
tion of one guinea annually shall be members of the 
Institution; and every person so qualified and ap- 
proved, giving to the Institution a Donation of Ten 
Guineas at one time, or two Donations of Five Guineas 
each in two successive years, shall become a life mem- 
ber of the Institution. 

Any person who shall have kept a shop, show-room, 
or gallery, principally for the sale of Works of Art, for 
three years, or any assistant who shall have been six 
years in the trade shall be eligible as a member of the 
Institution ; all the said members being residents within 
the United Kingdom 

The Committee shall have power to grant temporary 
or permanent assistance to a member, or the widow of a 
member, or the children of a member, —such assistance 
to have reference to the amount of subscriptions, to the 
age, to the time the member has belonged to the Insti- 
tution, and other circumstances. 

Rooks of the Rules and Regulations may be obtained 
from any of the above-named 

OFFICERS OK THE FUND*, 

Or, from the Honorary Secretary, Mr. Thomas Dodd, 
7, Great Newport-stre, r, Long-acre; or the Assistant- 
Secretary, Mr. Thomas C. Morton, 8, Gieat New’port- 
street. 


Digitized by 


ioosle 



270 


THE ART-UNION. 


[Dec., 


THE NATIONAL ART-UNION. 


TO EXTEND THE INFLUENCE OF BRITISH ART, BY CIRCULATING FINE EXAMPLES OF THE BRITISH 

SCHOOL OF PAINTING AND ENGRAVING. 


Various circumstances have combined to suggest the establishment of an Art-Union upon a more extended and comprehensive scale than that of the 44 Societies” 
at present in existence, with a view to associate, for one common purpose, persons of similar habits and tastes, however removed by distance; to increase the means of 
justly appreciating the Fine Arts, and participating in their beneficial influences ; and, by circulating Works of unquestionable excellence, to give a right bias and a wise 
direction to that taste for the beautiful and instructive in Art, which is becoming, not gradually, but rapidly, universal in Great Britain. 

The Societies which, within the last few years, have been called into existence in this country? originated, as our readers are aware, with the patrons of Art in 
Germany. The idea was borrowed first in Scotland, it was introduced thence into London, the spirit spread its influence to Ireland and the English provinces; and several 
such Institutions are now in operation — all stimulated by one great and honourable motive, but each having some peculiar characteristics, and all acting upon grounds 
independent one of another. 

The vast advantages that arise to a community from a proper cultivation of the Arts, and the salutary enjoyments produced by them, are too obvious, and too gene- 
rally admitted, to require comment. The astonishing increase of Institutions for their promotion, and of Societies for their encouragement, in this country, has only kept i 

pace with the public sentiment. The spirit of the age, rejecting the less refined pleasures of former times, requires those that are derived from the cultivation of Science, 
Literature, ana the Arts,— because it has been taught to appreciate their value. The aristocracy, of rank or commerce, are deriving their “ home enjoyments” from the ( 

mind and hand of the Painter ; while the taste, and, it may be said, the judgment, formerly confined to the higher, have spread to the middle classes of society, by whom | 

the inferior productions of the graver are now almost invariably rejectee!. Fortunately, Science has been summoned to the aid of the Arts : the invention of the Electro- 
type will, by multiplying, to any extent, the productions of the burin, enable the producer of a fine Print to supply it at the cost, formerly, of the commonest engravings — , 

such Electrotyped copies being, in all respects, as excellent as the originals, of which they are fac-similes ; a result that rests upon indubitable authority, and is 44 estm- 1 

blished by the proof that it has been found impossible, by the most competent judges, to distinguish the one from the other.” » 

The Manaokrs of the 44 National Art Union” avail themselves of this power to answer the increased demand for Art of unquestionable excellence; and submit I 

their Plan with confidence to the Public. 

In its leading provisions, it resembles the Societies now in operation, and with which the Public are already familiar; first, in supplying an impression of a costly ^ 
Engraving for each Guinea subscribed; and next, in distributing a collection of Works of Art, the productions of British Artists, as prizes— the prizes to be appropriated 
in the usual manner of drawing. 

In the 44 National Art-Union,” however, there will be some peculiar features, upon the importance of which, as serious and valuable improvements, its projector* 
calculate for success. 

These they have now to expiain :— 

With reference to the PRINTS to be distributed, — One for each Guinea, subscribed: — 

1st, The Print will be delivered to the Subscriber, at the time hi* Subscription is paid; thus removing the principal objection to existing Art-Unions, which have 
delayed the issue of one Print until long after another Print has been due ; causing no inconsiderable disappointment and vexation by continual postponements. 

2nd, As, at least, three or four Engravings will be submitted to the Subscribers, from which a choice may be made, for each Guinea subscribed,— and as tbeae 
Engravings will be varied as to subject and size, the Subscriber will be enabled to select a Print that may be suitable to his taste, and will not be compelled, as in previously 
existing Societies, to accept a Print, the character of which may not be agreeable to him, or which may not possess sufficient merit as a work of Art. In short, he will ascer- 
tain the true worth of the Engraving before he is called upon to become a Subscriber. 

3rd, The Prints to be issued by the National Art-Union will be greatly simerior to any that have been hitherto published by a Society. They will be all Line 
Engravings; engraved, in every instance, by the most eminent of British Engravers, from the choicest works of the most famous of our British Painters ; and the expendi- 
ture in their production will be at least thrice the amount that has been paid by any existing Institution. 

With reference to the PRIZES for subsequent Distribution among the Subscribers: — 

1st, The sum to be expended in the purchase of Prizes,— Paintings, Drawings, and Proof Impressions of fine Prints, — shall amount to the full half of the total 
sum subscribed, exclusive or the Engravings distributed at the time of subscribing; the number of Subscriptions being limited to 25,000; when the whole of the works of 
Art exhibited will be transferred, as Prizes, to the Subscribers. 

[No Painting or Drawing will be selected as a Prire of less value than Twenty-five Guineas : but the smaller prizes will consist of the finest Proofs of rare and costly Prints, which cannot bat b« con- 
sidered more desirable acquisitions than inferior Pictures of small price.] 

2nd, The plan of drawing the Prizes will be precisely that adopted by the London Art-Union : to take place immediately after the completion of the Subscription 
List : but under no circumstances will it be delayed later than the 80th June, 1844. 

3rd, The Paintings and Drawings shall be procured directly from the Artists,— native Artists only; and, as far as may be practicable, at once from the easel, so as to 
secure the latest production of the Painter, and to obtain novelty in an Exhibition. The Managers, however, reserve the right of making additions from private sources, 
when very desirable works may be offered them, or in case difficulties shall arise in procuring a sufficient number of really good, works. 

[Promises of zealous support and cordial co-operation have already been received from the Artists generally.] 

4th, The Pictures so collected, for subsequent distribution as Prizes, will be publicly exhibited, first in London, and afterwards in nearly all the leading towns of the 
Kingdom ; thus extending the fame of the Artist, and improving the public taste by the most certain and most effectual mode. 

[While the Subscribers will at once receive a beautiful and valuable Print, they will, also at once, be enabled to test the beauty and value of the Picture* of which they will *ubscquently become the 
possessors. The Pointings so brought together will be collected from the studios of the Pointers by gentlemen of ta*te and judgment, with regerd only to their intrinsic merit, inasmuch as upon 
their intrinsic merit, and the exclusion of mediocre performances, must largely depend the success of the Institution.] 

The advantages thus offered to the Public will be sufficiently obvious. While the Prints that will be issued may challenge competition with any that have ever ap- 
peared in this country, either from public or private sources, and will be procured at a cost commensurate with the importance of the undertaking, the objections that have 
been urged against Art-Union Societies will be in a great degree removed. These objections are twofold; first with referenceto the choice of Pictures by * 4 a Committee;” 
and next as regards the arrangement by which a Freeholder selects for himself. In the one case, it has been asserted that partialities and personal regards have, at times, 
produced a bias injurious to the Arts generally ; and have encouraged some Artists to enhance the prices of Pictures beyond their value, under the assurance of sales ; and. in 
the other cabe.it is contended that the Arts are prejudiced by allowing incompetent judges to make choice of unworthy Pictures. Both these difficulties will be overcome ; inas- 
much as the Managers of the 44 National Art- Union” will be compelled to choose only such Works as arc of acknowledged excellence; such only as are calculated to improve 
the general taste ; and such only as will be really worth the value placed upon them. Upon the just and effectual working out of this portion of their Plan, they gTOund their 
expectations of success. 

The period for drawing the Prize* will be duly announced. It will take place in London, and Subsribers will be invited to attend. The proceedings will be conducted 
under the superintendence of at least Twelve of the authorized Town and Country Agents, who will represent the interests of the Subscribers. 


PRINTS FOR DELIVERY TO SUBSCRIBERS OF THE YEAR 1843:— 

I. ANCIENT ITALY. II. MODERN ITALY’. 

PAINTED BY J. M. W. TURNER, R.A.; ENGRAVED BY J.T. WILLMORE. PAINTED BY J. M. W. TURNER, R.A.; ENGRAVED BY W. HILLER. 

III. & IV. ( The Pair to each Subscriber of One Guinea.) 


THE LATTICE. — - THE MASK. Painted by E. Landseer, R.A.; Engraved by J. H. Robinson. 

The two first-named are now on the eve of finish by the two eminent Line F.ngravers, Messrs. ‘Willmorb and Miller ; the size of each is 2ft. 4in. by 1 ft- 9in. 


The 


interest and beauty of the subjects have been uiiiversallyacknowledged; and as Engravings they will be classed among the most successful efforts of modern times. The 
Pair, after Landseer’s exquisite Pictures, engraved by J. H. Robinson, are partially 1 . . " * " ’ J 


tionate charge, x 


j known; but the extreme delicacy and cost of the Engraving demanded a propor- 
has justified their introduction into this plan. 

. „ ,, , early in January, when the Prints will be ready for distri- 
bution to Subscribers. 

That this plan originates in private enterprise cannot be treated as an objection ; inasmuch as in this country such is the origin of nearly every great 
and prosperous national undkrtaking— which can benefit its projectors only by really benefiting the Public. 


i, which excluded them from the hands of all but a very few. The application of the Electrotype 1 
The Exhibition in London will take place at the Gallery of the 44 New Water Colour Society,” Pall-Mall, c 


Office — 26, Soho-square , London. 


RICHARD LLO Y D , * secret ariet 
J. L. GRUNDY, ) aecrtlarm . 


The following London Agents have been appointed to receive Subscribers’ Names, and will have on view Specimens of the above Engravings 
Messrs. AckeRmann and Co., Strand; Messrs. A. H. Baily and Co., 83, Comhill; Messrs. S. and G. Fuller, Kathbone-placc ; Mr. Samuel Hollyer. Chaneety- 
lane; Mr. Robert Jennings, 63, Cheapside; Mr. F. G. Moon, 20, Threadneedle-street ; Mr. T. M‘Lean, Haymarket ; Mr. Watson, Vere-street, Cavendiah-aquare. 

*** Country Agents are being appointed, and will be duly announced. 


1842 .] 


THE ART-UNION 


271 


THE ART-UNION. 



LONDON, DECEMBER 1, 1842. 


CONTENTS. 


1. THE NATION’S CALL 276 

2. OBITUARY 278 

3. THE ARTS IN CONTINENTAL STATES : 

ITALY J FRANCE J GERMANY J 
BAVARIA 279 

4. GERMAN COMPLIMENTS TO BRITISH ART .. 281 

5. CORRESPONDENCE: 

CARTOONS AND FRESCOES; THE 
ARTISTS’ FUND; EMPLOYMENT OF 
FOREIGN ARTISTS 282 

6. THE CHINESE COLLECTION, HYDE PARK 

CORNER 283 


7. VARIETIES: 

THE ROYAL ACADEMY*, THE QUEEN 
AND HER CHILDREN; THE COPIES 
FROM THE OLD MASTERS; THE IM- 
PERIAL ACADEMY OF ST. PETERS- 
BURG; VIRTUOSI PROVIDENT FUND; 
M. HULLMANDKL; SIR ROBERT 


PEEL; THE BOCCIUS LIOHT 284 

8. FINE ARTS, IRELAND 284 

9. THE ART-UNION SOCIETIES 284 

10. PRINTING IN OILS 285 

11. REVIEW OF PUBLISHED WORKS: 

THE CORONATION OF HER MOST 
GRACIOUS MAJESTY, QUEEN VIC- 
TORIA; STUDIES FROM OLD ENGLISH 
MANSIONS, &C. ; ANCIENT AND 
MODERN ARCHITECTURE, &C. &C. ... 288 


THE NATION’S CALL. 

The National Committee on the Fine Artshaving 
again published its Report, accompanied by a 
letter from the Secretary for the Home Depart- 
ment, it becomes necessary, at this stage of the 
inquiry, that our readers should be fully im- 
pressed with the importance of the subject, and 
clearly understand the nature and extent, as well 
as the force and authority, of a Nation’s Call : 
that, fully nwnre of the obligation it entails, 
they may consider, deeply and feelingly, the 
various and peculiar circumstances under which 
such call may be made; and, when made, how 
5 emphatically every efficient member of the com- 
' m unity is appealed to, to yield to it his ready and 
i willing assent : whether such call he made for 
j promoting the general good, for enforcing the 
maintenance of order, or for carrying into effect 
j any great public improvement. By studying the 
j history of National Calls they will arrive at 
j data sufficiently certain, and be enabled to judge 
j with accuracy of those silent movements which 
promote, preserve, and enlighten human institu- 
tions ; and further, that it is only by imitating 
| the bright examples of refined patriotism, which 
the pages of history present to us, that the 
standard of Art can be raised in our own country 
and among our own people. 

If wealth and military conquests could 
awaken a genius for Art, Rome, in the days of 
her splendour, would have been mistress of that 
world also. But as, amid all her glory she in- 
fused a mercenary spirit into her artists, she has 
left us an example of powers misapplied — of 
genius degraded and debased. This opinion may 
be supported by examples. And, having recom- 
mended the study of National Calls, we 
shall instance such of them as seem deserving 
our more immediate attention. 

1. When Darius meditated the absolute 
dominion of Greece, that country was divided 
into petty states, each following a distinct line of 
policy, often dictated by faction, and either op- 
posed to the interests of all, or trenching upon the 
liberties of a weaker neighbour. To turn these 


discordant elements towards the completion of 
his views was the great object of the Persian mo- 
narch’s ambition. But even conquerors think 
it necessary to offer an excuse for making war a 
trade, and for enslaving a free people ; and thus 
Darius sought to j ustify the attempt he was about 
to make, by alleging that the lonians and 
Athenians had revolted ; that they had intention- 
ally, and not by accident, set fire to Sardis ; and 
that they had put an insult upon him by throw- 
ing one of his heralds into a ditch and a second 
into a well. — (Herodot., 1. v., c. 38 — 102; et 1. 
vi., c. 46 — 494 ; et 1. vii., c. 133.) He there- 
fore fitted out a fleet of 600 ships, and sent them 
to Samos to receive on board an army already 
assembled there of 500,000 men (?), under the 
orders of his two generals, Datis and Artapher- 
nes. — (Pint, in Moral., p. 829.) When these 
troops were embarked, they sailed to Naxus, and 
other islands, which they captured, and burnt 
their towns and temples. They next arrived at 
Erctria, a town in Euboea, of which, after a siege 
of seven days, they were, through treachery, put 
in possession. Here too they pillaged and burnt 
the city and temples, in revenge, as they said, for 
the burning of Sardis. They likewise made slaves 
of the inhabitants, for which purpose they had 
been plentifully supplied with chains and fetters 
by order of Darius. The troops were afterwards 
disembarked in Attica, and were conducted to 
the plains of Marathon by Hippias, the tyrant of 
Anthens, who, after his banishment, fled to the 
Persians. 

The Athenians, apprized by heralds of their 
danger, asked succour of all the Grecian States; 
but only the Platseans answered the appeal, by 
sending them 1000 men. In this extremity the 
magistrates of Athens determined to make a 
call upon its entire population — including even, 
contrary to usage, the whole of the slaves — to arm 
and to march immediately against the invaders. 
— (Herodot., 1. vi., c. 94 — 99.) The call was 
instantly answered : freemen and slaves ranged 
themselves under the banners of Miltiades, 
Aristides, and Thcmistocles ; and, falling upon the 
Persian host at Marathon, with simultaneous vio- 
lence, they gave a check to the advance of the 
enemy, and brought from the field of battle a 
large block of marble, which Datis and Arta- 
phernes had conveyed thither, intending to erect 
a trophy to commemorate the victory which they 
expected to gain over the Athenians. Of this 
very block Phidias afterwards made a noble statue 
dedicated to the goddess Nemesis, the punisher 
of unjust actions. — (Pausan., 1. i., p. 62.) Thu9 
was Athens for the present saved from being 
burnt, and its inhabitants from being sent in 
chains and fetters (provided for the occasion) to 
Persia. — (Plut. in Moral., p. 829.) 

2. As Darius died before he could equip his 
second great armament against Athens and 
Greece (Herodot., 1. vii., c. 2 et 4 ; Justin., 1. ii., 
c. 10; Plut. in Artaxerx. et Apothegm.), his son 
Xerxes, who had, before the death of his father, 
been named to the succession (Herodot., 1. vii., c. 
2 et 3 ; see also Justin., 1. ii., c. 10 ; Plutarch, 
de Frat. Amor. p. 448), resolved to chastise the 
Athenians, and to carry into effect the entire 
project of Darius, though contrary to the wise 
counsels of Artabanus, the King’s uncle. — (Hero- 
dot., 1. vii., c. 5, 6.) Again, the Athenians and 
Lacedemonians appeal to their countrymen : 
they were abandoned by all Greece except the 
Thespians and Platoeans, who each sent a small 
force to their assistance. Hereupon, Themisto- 
cles made a call upon 4000 of the Athenian 
citizens to arm and assemble at the pass of Ther- 
mopylae; while Leonidas, one of the Kings of 
Sparta, made a similar call upon 300 of his 
subjects, whom he chose by name. — (Herodot., 
1. vii., c. 148—163.) By these united and de- 
voted bands was the Persian army, consisting of 
2,641,610 men, including followers of the camp 
(Herodot., 1. vii., c. 60, 72, 87), arrested, though 
the brave Leonidas and all his Spartans were 
slain (Herodot, ubi supra, c. 213 — 225, et 

Digitized by 


seq. ; Dlod. Sic., p. 7 ; Ctesias,in Persicis, c. 24) 
in the battle on the following day.— (Heredot. 
ubi supra, c. 229—231.) Nothing now opposing 
the Persians, they advanced into Attica. Where- 
upon, Themistocles made a call upon all the 
inhabitants of Athens to send their wives and 
children on board vessels, to be taken to a safer 
place, and then to abandon the city, and them- 
selves to embark in other ships. — (Herodot., 1. 
viii.,c. 1 — 18.) Even this call was obeyed, and 
Athens was captured by the Persians, who 
plundered and burnt it. — (Idem, c. 51 — 53.) 
Themistocles, however, proceeded with his ships 
to the Straits of Salamis, and there over- 
threw- the Persian fleet, Queen Artemisia with 
difficulty escaping. — (Herodot., 1. viii., c. 68, 74 
— 76, et 83—85, 86—88, et 92 ; Justin, 1. ii., 
c. 12.) The reward of valour was given by all 
the captains to Themistocles. — (Herodot. ubi 
supra, c. 122, 123.) 

This success was followed by one still greater 
at the battle of Plataea, upon which occasion the 
Persian camp fell into the hands of the Grecians, 
with all its immense booty and wealth, a tenth 
part of which was bestowed on Pausanias, as an 
acknowledgment of his extraordinary valour.— 
(Herodot., 1. ix., c. 31 —69.) 

3. These great victories, gained over a foe sup- 
posed to have been invincible, and whose power 
was neither exhausted or subdued, animated the 
whole of Greece with courage and hopes of free- 
dom. A new and more extensive call was 
therefore made and submitted to, namely, a 
general taxation to defray the expenses of the 
war ; to rebuild the temples and cities burnt by 
the Persians ; and to raise troops to resist further 
aggressions on the part of Persia. By these 
means was Greece eventually delivered from the 
Persian armies, under Mardonius, who, prior to 
his evacuating the country, burnt every city and 
temple, in revenge, as it was alleged, for the 
burning of Sardis, which was accidental. — (Hero- 
dot., 1. v., c.38 — 102; et 1. vii., c. 21 1,212; Diod. 
Sic., p. 6 ; Ctesias in Persicis, c. 23.) The only 
temple which was not burnt by the enemy, was | 
that of Diana, at Ephesus (Strabo, 1. xiv.; Curt., 

1. vii., e. 5; Solin., c. 40), which was afterwards 
set fire to by Erostratus. Whether Xerxes was 
instigated by revenge, or by his religious zeal, 
cannot be learned. He had been instructed by 
Zoroaster and Ostanes, who held image-worship 
in abomination ; and Cicero is of opinion that 
they instigated him to destroy the temples. — (Cic. 
de Legib., 1. ii.) The Persians were iconoclasts 
of that day, about 480 years before our era. — 
(Clem. Alex. ; Laert. in Proaem. Pocock, specira. 
Hist. Arab. pp. 148, 149.) 

But Greece did not grow wise by the evils she 
had suffered and the dangers she had escaped. The 
smoke of her temples, which had darkened the 
heavens and reduced her gods to powder, acted 
not as a warning, but rather served to inflame 
old jealousies; and the animosities of rival cities 
were only at length allayed by submitting to the 
yoke of Alexander the Great, who declaring all 
Greece free, B. C. 334, by an edict, which he 
ordered Alcimalus, supported by troops, to en- 
force.— (Arrian, 1. i., c. 18.) 

4. When Hamilcar, the Carthagenian general, 
closely besieged Syracuse both by land and by 
sea, Agathocles, in order to create a diversion, 
embarked some troops, and, waiting the oppor- 
tunity, proceeded with them to the coast of 
Africa. Having landed his men, he set fire to 
his own vessel : an example that was followed 
by all the commanders. Retreat being thus 
rendered impossible, he marched with his men 
to the very gates of Carthage, which, being un- 
prepared for so sudden a descent, was thrown 
into the utmost confusion. A call upon every 
inhabitant was, however, instantly made ; and 
being promptly and effectually answered, the 
city was saved. — (Diod. Sic., 1. xx., c. i.; Justin., 

1. xxii.) 

5. Rhodes was threatened by Demetrius, who 
was reputed one of the most experienced captains 


272 


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THE ART -UNION. 

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of the age in conducting sieges. But the 
Rhodians were not dismayed : they called 
upon all, whether free or bond, to defend the 
island ; and, though the siege lasted three years, 
an honourable peace was finally concluded. — 
(Veget. de re militari.) 

6. Syracuse was a second time besieged. This 
was by the Romans, under Marcell us. On this 
occasion a call was made on only one indi- 
vidual to defend the place; and that one (in 
himself a host) was Archimedes. For three years 
he alone defended the town ; and had it not 
been for the treachery of a Spaniard, one of its 
principal inhabitants, he, whose mind was more 
power, ul than armies, would have successfully 
resisted the utmost efforts of Marcellus. — (Plu- 
tarch in Marcell. Liv., 1. xxv., c. 30.) 

7. When the Roman army, under Marcius, 
passed into Africa, with the intention of de- 
stroying Carthage, the inhabitants, on the faith 
of a treaty, were induced to deliver up their 
arms and engines of war, which were sufficient 
to equip all Africa. — (Polyb. Legat., 142.) The 
Carthagenians thus deprived themselves of the 
means of defence, and, to his shame, Marcius 
took advantage of their situation to press harder 
conditions on the deputies sent from the city, 
and even desired them to return and command 
the authorities of the place to demolish their 
walls. The deputies, therefore, too late per- 
ceiving the treachery of the Roman general, 
recommended, at their return, that no confidence 
should be placed in the faith of the enemy. To 
make a call and to ann the inhabitants was the 
work of an instant. Temples, porticoes, and 
other public buildings, were immediately con- 
verted into workshops, where men and women 
laboured night and day, mutually encouraging 
each other, food being brought to them that no 
time might be lost. Thus 144 bucklers, 300 
swords, 1000 darts, and 500 lances and javelins, 
were manufactured daily. In default of iron or 
brass for completing their balistm and cata- 
pultue, gold and silver ornaments, and even 
statues and sacred vases, were melted down; 
and, being without tow and flax for making 
ropes to work them, women, even of the first 
rank, cutoff their flowing hair, and freely gave 
it for the purpose. In' vain did the Romans 
attempt to take by assault a town, whose inhabit- 
ants were animated with such enthusiasm, and 
among whom the love of country prevailed over 
the love of life. So little progress, indeed, did 
the Romans make, that in the end, had it not 
been for the bravery and presence of mind of 
Scipio ifhniliauus, then a subordinate officer, the 
whole Roman army would have been annihi- 
lated. — (Liv. in Epit. ; Appian. in Pun., p. 55 ; 
Strabo, 1. xvii., p. 832 ; Flor., 1. ii., c. 15.) 

8. Cleomenes and Demaratus attempted to 
possess themselves of Argos. There was at that 
time a lady in the city, of feeble constitution, 
who had been, some time before, directed by the 
oracle to apply herself to poetry, in which she 
made extraordinary progress. The influence she 
thus acquired was so exteusive, that though there 
were only women in the place when the Lacede- 
monians approached, she closed the gates, and 
calling on her countrywomen to defend the 
walls, she inspired them with so much courage 
and resolution by her example and intrepidity, 
that though Demaratus was already in possession 
of the suburbs, they obliged him to retire pre- 
cipitately, and even to raise the siege. In 
memory of this glorious event, a feast was cele- 
brated annually in Argos, in which women went 
-about in men’s clothes, and men put on women’s 
habits. — (Ilerodot. Hist.,1. vi.,c.76 — 80; Poly son. 
Stratag., 1. viii., c. 33 ; Plutarch, de Virtut. 
Mulier. ; et ib. Apoplith. Lacon.) 

1). The call made in Sparta, and the noble 
conduct of its women, is too well known to need 
repetition here. — (Vide Plutarch, in Vit. Pyrrh. ; 
Justin., 1. xxv., c. 4.) 

10. 13ut though ancient historians afford us 
many other examples of National Calls, we 


must pass them over in silence, in order to intro- 
duce the well-known and memorable call of 
Queen Elizabeth, in 1588. Philip II. was then 
equipping an immense force, which, with the 
flower of his nobility, he intended should invade 
England. “ At that time,” says Hume, “ the 
chief support of the kingdom seemed to consist 
in the vigour and prudence of the Queen’s con- 
duct, who, undismayed by the present dangers, 
issued all her orders with tranquillity, animated 
her people to a steady resistance, and employed 
every resource which either her domestic situa- 
tion or her foreign alliances could afford her.” 
— (Hume’s Hist of England, vol. v., p. 336.) 

It is, indeed, under feelings of strong excite- 
ment that our national character is fully deve- 
loped; and upon such occasions it exhibits both 
firmness and purity, and even loftiness. It was, 
therefore, that “ the citizens of London, in order 
to show their zeal in the common cause, instead 
of 15 vessels winch they were commanded to 
equip, voluntarily fitted out double that number. 
The gentry and nobility hired, aud armed, and 
manned 43 ships at their own charge ; and all 
the loans of money which the Queen demanded 
were frankly granted by the persons applied to.” 
— (p. 333.) 

In all the cases of a Nation’s Call which we 
have yet considered, some were made upon a 
whole people, some on classes, and 6ome on par- 
ticular individuals ; and though none are of the 
precise kind which are contemplated by our 
National Committee, they are of value, as show- 
ing that nations have called, and people 
have ANSWERED. 

11. But the nature of a Nation’s Call is not 
so limited in extent as to be confined to cases 
of extreme necessity. It has been often confined 
to some specific object. Thus, when Demetrius 
Peliorcetes besieged the city of Rhodes, as has 
been described, for a whole year, and growing 
tired, was reconciled to the Rhodians, to whom 
he presented all the engines of war he had 
employed agaiust their city ; the citizens sold 
them for 300 talents. And as they designed 
to commemorate the events of their own 
prowess in resisting the assaults of Demetrius, 
and likewise the generosity of that famous 
warrior in making them so large a present, 
a call was made upon the inhabitants gene- 
rally, to contribute certain amounts towards 
the increase of the fund already created by the 
sale of the above-mentioned muniments. The 
sums were soon paid ; and Chares of Lindus 
was then chosen to make the celebrated Colossus, 
which he was twelve years in completing. Ancl 
when it had stood sixty years, it was thrown 
down by an earthquake, which also did great 
injury to the temple. The Rhodians, in conse- 
quence of this misfortune, sent ambassadors to 
all the provinces and states of Grecian origin, to 
represent the losses they had sustained ; and to 
pray that contributions might be made to repair 
the injuries. Specific calls were, therefore, 
made by the Kings of Egypt, Macedonia, Syria, 
Pontus, and Bithynia, upon their several people ; 
and so great was the amount subscribed, that the 
sum collected exceeded five times the value of 
the damages. — (Euseb. Chron. ; Oros., 1. iv., c. 
13 ; Polyb., l.v., pp. 428, 429; Plin., 1. xxxiv., 
c. 7 ; Strab., 1. xiv., p. 652.) 

12. As the Persians, on their retreat from 
Greece, burnt all the temples (with one excep- 
tion) that of Juno, at Samos, where the Herman 
games were celebrated, was also consumed; and 
the three wonders, admired and spoken of by 
Herodotus (Herodot., 1. iii., c. 60), greatly in- 
jured or destroyed. The Samians, therefore, 
appealed to all Greece, when a general call 
was made for subscriptions in money and or- 
naments to repair the damages sustained at 
Samos. The consequence was, that the temple 
was made finer than ever, and so enriched with 
statues and pictures, that there was literally no 
room to contain them. — (Pausan. in Arcad.) 

But where should we stop were we to continue 


the history of National Calls and contribu- 
tions — in money, in learning, and in the Fine 
Arts ? Let it suffice to say that it was pro- 
claimed in ancient Rome, when she had no 
enemy to fear, and temples adorned with paint- 
ings and statues everywhere appeared, it was 
heard in Tuscany, and the Labyrinth was built. 
And in modern Italy, it was published in Flo- 
rence, and the Arts revived after having slum- 
bered for centuries. It was but breathed in 
England, when, in the language of metaphor, 
the globe itself was called upon to contribute 
its fatness ! Our merchants were called on to 
cover the ocean with ships ; to spread forth their 
arms to the most distant lands ; and to withdrew 
from the Indies its silks, its dyes, and its per- 
fumes. But this influx of luxuries did not ener- 
vate the character of our ancestors ; their 
social system, indeed, was changed, but their 
enterprising spirit preserved their indepen- 
dence. In no respect does the civil polity of 
Great Britain differ from that of other countries 
than in this : that with us the public mind is 
kept in health by wholesome yet strong exercise ; 
by enterprises of great national importance 
being entered upon by private individuals asso- 
ciated in companies, which require no encourage- 
ment or assistance from the Executive. 

It is, however, true that we may trace the 
commencement of this feature in our national 
constitution to the issuing of Bounties, began, 
it may be said, by Queen Elizabeth. After the 
destruction of the Spanish Armada, she perceived 
that the only effectual way by which her king- 
dom could be preserved from invasion was to 
extend its natural boundaries, and thus, by em- 
bracing the ocean within its limits, to “ build 
upon the wave.” 

As a first step towards the accomplishment of 
this great project, she fitted out ships of war, and 
sent them to capture the galleons of Spain on 
their homeward way from the Americas ; con- 
ceiving that the power which was most likely to in- 
jure her dominions would be thus crippled, while, 
at the same time, a stimulus would be given to 
her naval commanders to use their utmost vigi- 
lance and exertions against her enemy. Know- 
ing, also, that numerous fleets, without render- 
ing them effective, would but weaken her defences 
and invite plunderers, she offered premiums (see 
Spirit of Marine Law) as inducements to our 
merchants to build and fit out trading vessels and 
coasters, by which means a nursery for the edu- 
cation of seamen would be formed, from which 
a constant supply might be obtained for manning 
the British navy. The impulse thus given to 
trade, slightly fomented by her immediate suc- 
cessors, paved the way for the establishment 
of that wonderful empire in the East, where 
100,000,000 of people own their subjection to 
a company of merchants in Leadenhall-street 
Hence, also, our fur trade, our fisheries, our 
Russian, Turkey, and African companies; our 
West India property, our national bank, our 
docks, bridges, canals, and, lastly, our steam- 
boats. There cannot be a stronger argument in 
favour of the wisdom of rightly employing and 
directing the human mind to useful pur- 
suits, to the maintenance of salutary laws, and 
to the security of settled institutions. These 
form the centre of our social system, around 
which, as in a circle, we may move without 
danger and without obstruction. Traitorous and 
unfaithful must that heart be which could thrill 
with pleasure at the ruffian shout of “ Fortunam 
Prianri cantabo.” 

It is not sufficient that our country become great 
and powerful : she must become polished like- 
wise. She must, as having greater means at her 
disposal, be more distinguished than the nations 
whose people have long mouldered in the dust, 
and whose history we trace, not indeed in 
records which the worm may devour or the bar- 
barian consume, but in their glorious ruins — 
those mighty works which genius has carved out 
of the living rock, and piled on the labouring earth. 


1842 .] 


THE ART-UNION. 


273 


Happily the throne of this kingdom is again 
occupied by a Queen whose strength of character 
we have witnessed, and whose firmness under trial 
has excited our highest admiration. She is allied 
to a prince distinguished by his taste and love for 
the Fine Arts, and by bis practical knowledge of 
them. Moreover, the circumstances of the times 
are propitious, and are rendered still more so by 
the enlightened counsellors of her Majesty, who, 
perceiving that private patronage and individual 
exertion have been bestowed in vain in the at- 
tempt to give a healthy tone and character to 
Art in this kingdom, have received instructions 
from her Majesty to revive the expedient of pub- 
lic premiums, and to proclaim the Nation’s 
Call, as published by the Commission and by 
the Art-Union. 

Letter from the Right Honourable the Secre- 
tary of State for the Home Department : — 

“ Whitehall, 25th April, 1842. 

“ Sir, — Having received her Majesty’s com- 
mands to notify to you that her Majesty has been 
graciously pleased to approve of the Report of 
the Commissioners on the Fine Arts; and her 
Majesty has commissioned the Lords Commis- 
sioners of the Treasury to submit to Parliament 
an estimate for the grant of £2000, to be given 
and distributed as premiums for the best Car- 
toons, in the manner proposed in the Report. 

“ I have the honour to be, Sir, 

“ Your faithful servant, 

“ J. R. G. Graham. 

“ C. L. Eastlake, Esq.” 

No doubt can be entertained of the intention 
of her Majesty’s Government: that the call 
is general, and that all artists, without distinc- 
tion, are invited to compete for premiums. Nor 
can it be doubted that the members of the Royal 
Academy, who are in possession of privileges 
which they owe to the bounty of her Majesty’s 
ancestors, are in a peculiar manner appealed to, 
and called upon to forward the views of her 
Majesty’s Government, in reference to the pro- 
posed measure of competition ; and as the Pre- 
sident of the Royal Academy has, even by anti- 
cipation, called the attention of the Professors 
and junior members to this very subject, and his 
opinions are eloquently and even persuasively 
expressed, we take the liberty of repeating them. 

“ There may possibly be painters who have 
no relish for competition ; and who would be 
better pleased to see the Government dealing out 
large commissions, in which the reward at least 
would be certain, however unskilful or disgrace- 
ful the work. Such persons, however, if there 
are such, must not be allowed to discredit their 
more able and honourable brethren, who desire 
no rewards but those which they may be found 
to deserve ; who work for nothing more than an 
opportunity of generous emulation ; and are 
willing to adopt, as the motto of their fortune 
and their fame, 

Pal mam qui meruit ferat. 

“ It must always be the interest, and I am con- 
vinced it is the inclination, of eminent artists to 
discourage every thing of a mercenary or me- 
chanical character in the exercise of an art so 
noble as that which they pursue ; and the man- 
ner in which the principle of direct competition 
obviously operates to produce this effect, forms 
one of the motives for particularly recommend- 
ing it. 

“ It is desirable that the genius of the country 
should have a fair, public, and honourable trial, 
before it can be discredited by an injudicious or 
corrupt choice of those who may be appointed to 
furnish the world with examples of it ; before the 
liberality of some future Pericles shall set on foot 
public works, to be undertaken, perhaps, in the 
spirit of a contract, and executed in the spirit of 
a tradesman.” — pp. 86, 87. 

It would be a hopeless attempt to give more 
force to the subject of competition than is ex- 
pressed in the foregoing remarks ; but as all our 
artists of established credit may not be con- 
vinced by it, conceiving tint it may be discre- 


ditable to enter the lists with the “ merest tyro,” 
or that it would be foolish to tamper herein with 
an established reputation, we proceed to consider 
some of the cases in which such a trial as that 
afforded by public competition was found, in 
ancient times, to be fraught with the greatest 
benefit to literature and Art. As, however, the 
subject is of a complicated nature, we propose 
to divide it into three separate heads : — 

First, — What were the means adopted by an- 
cient Governments to encourage learning and 
Art ? 

Secondly, — Competition, considered as a means 
of national improvement ; and 

Thirdly, — Has the employment of foreign 
artists impeded or encouraged the development 
of native talent ? 

We think it proper to observe, that, in dis- 
cussing a subject of this kind, it is impossible 
to place much reliance upon dates, especially 
during the Mythic period of time ; and that even 
subsequent to the reign of Psammitichus, there is 
difficulty in fixing the period of many events. 
We shall, therefore, take facts as they are re- 
corded, and in the order in which they best 
answer the purpose we have in view. With this 
apology, we proceed. 

1st. The early form of government was patri- 
archal; for where could the children find a 
fitter ruler than in him who had sustained their 
early years, and who had shown a like tender- 
ness for all ? Such government would be exer- 
cised for their protection ; and they would find 
in his control security to their peace, liberties, 
and fortunes. Thus, fathers of families might 
insensibly become political monarchs; and, if 
they chanced to live long, would leave able heirs, 
and lay the foundation of hereditary or elective 
kingdoms. — (Locke, on Government, treatise ii., 
c. 6, &c.) As, however, possessions extended, 
it might be expedient to intrust the government 
to one or to few hands, and the choice would 
naturally fall on the most worthy of the com- 
petitors. — (Justin. 1. i., c. 1.) The wisest and 
most politic would gain the affections of the new 
subjects ; and, thus united, they would form one 
government. — (Rollin, Hist. Anciennc, p. 3, &c.) 

Thunder and storms would naturally beget 
superstitious fears, and this would lead to the 
establishment of a sacerdotal order, the members 
of which, being relieved from laborious occupa- 
tions, would cultivate astronomy and other 
branches of learning. In Egypt the learning, 
philosophy and other sciences, as well as their 
religious and sacred rites, were deposited with 
their priests. — (Strabo, 1. xvii., p. 1159; vid. 
Porphyr. de Abstin.) All who desired to be in- 
structed were obliged to apply to the priests. — 
(Clem. Alex.Str., 1. i. ; Diod. Sic., 1. i., p. 86.) 
Hence, at a later period, the establishment of 
academies and colleges, one of which, at Helio- 
polis, Strabo visited, and saw the apartments 
where Eudoxus and Plato had studied. — (Strab. 
ubi supra.) 

The corruption of historical records, which 
were deposited only in the memory, would 
suggest the necessity of some kind of writing ; 
and would be especially necessary in respect to 
astronomical observations and judicial transac- 
tions. It is doubtful whether the Egyptians or 
Ethiopians were the first inventors of hierogly- 
phic writing. Both nations made use of the same 
symbols to express certain ideas. 44 Their writ- 
ing is expressive of the subject, not by a com- 
position of syllables, but by the signification of 
certain images delineated, and a metaphorical 
application of it impressed on the memory by 
exercise. For they icrite (yp&<povoi) a hawk, a 
crocodile, a serpent, a part of the human eye, a 
hand, the face, &c. The hawk signifies despatch, 
because in celerity this bird exceeds almost all 
others.— (Diodor. Sic., 1. iii. ; Hrrodot., 1. iv. ; 
Heliodor. ^Etliiopic., 1. iv. ; Clem. Alex. Strom., 
1. v., p. 567.) The practice of engraving astro- 
nomical characters upon columns was practised 
by Seth, which, says M. Monier (Hist, des Arts, 


p. 4), survived the flood ! At nil events, a tradi- 
tion of this method was preserved by the descend- 
ants of Noah. The Babylonians engraved their 
astronomical observations on bricks. — (Plin., 1. 
vii., c. 56.) Democritus is said to have tran- 
scribed his moral discourses from a Babylonish 
pillar. — (Clem. Alex., ubi supra.) The most 
famous columns were those of Hermes, in Egypt, 
upon which he is thought to have engraved his 
learning, which was afterwards more fully ex- 
plained by the second Hermes— (the first and 
second Hermes have been thought to be the same 
person) — in several books. From these pillars 
the Greek philosophers and Egyptian historians 
took their information. Plato and Pythagoras 
studied them, as did also Sanchouiatho and 
Manetho ; and they are said to have existed to 
about the time of Proclus (Proclus apud Bur- 
net ; Iamblicus de Myst., sect, i., c. 2), in sub 
terraneous apartments near Thebes. — (Pausan., 
1. i., p. 78.) 

In this we trace the progress of engraving on 
stone ; and the invention of alphabetical writing 
was a necessary consequence of the improvements 
made in the former method : and hence the 
sacred books of the second Hermes. — (Selene, 
apud Iamblich. de Myst. ,Egypt, ^ 8, c. 1 ; 
Manetho, apud eund. ibid ; Clem. Alex., 1. vi., 
p. 633; Euseb. Proep., E\\, 1. i., c. 9.) In these 
public registers the priests inserted whatever re- 
lated to astronomy, philosophy, laws, &c. — 
(Joseph, cont. Appian, I. i.) 

The Kings of Egypt were often priests also ; 
and therefore the arts of architecture and en- 
graving would receive the utmost encouragement 
which the kingly office could bestow upon them. 
Hence, temples would be built upon a more 
magnificent scale, and, to satisfy the infirmity of 
man’s nature, image-worship would be invented. 
This worship was, no doubt, at first confined to 
one image of the Supreme Deity ; and as that 
Great Being is unchangeable, so their repre- 
sentation of Him in stone was reduced to the 
most exact rules of proportion. As an instance 
of this, I need only mention that Tecles and 
Theodorus, the sons of Rhoecus, made the famous 
statue of Apollo Pythius, in Samos, after the 
Egyptian manner. It was divided in two parts, 
from the head to the groin, and thence to the 
feet ; one half being cut by Tecles, at Samos, and 
the other half by his brother at Ephesus ; yet so 
nicely did the two parts correspond, that when 
brought together they fitted most exactly : and 
this was the more extraordinary, as the statue 
was represented in a moving posture, with the 
hands outstretched.— (Diod. Sic., 1. i., p. 88.) 

“Writers are agreed,” says M. T. B. Emeric- 
David, “ that admiration of the works of the first 
statuaries was one of the causes of idolatry. It 
was, doubtless, natural that men were represented 
according to their natural likeness, before they 
made their gods according to the image of man*; 
and thus human idols preceded those of the gods. 
— (Berger, Orig. desDieux du Pag., chap. iv. § 3) 

4 For a father, afflicted with untimely mourning, 
when lie hath made an image of his son, soou taken 
away, now honoured him as a god, which was then 
a dead man, and delivered to those that were under 
him ceremonies and sacrifices. Thus, in process 
of time, an ungodly custom, grown strong, was 
kept as a law, and graven images were wor- 
shipped by the commandment of kings ; whom 
men could not honour in presence, because they 
dwelt from far, and made an express image of a 
king whom they honoured, to the end that by 
this, their forwardness, they might flatter him 
that was absent, as if he were present. Also, the 
singular diligence of the artificer did help to set 
forward the ignorant to more superstition ; for 
he, peradventure willing to please one in 
authority, forced all his skill to make the resem- 
blance of the best fashion. And so the multitude, 
allured by the grace of the work, took him now for 
a god, which a little before was but honoured as 
a man.’” — (Wisdom of Solomon, chap. xiv. 
15-20.) 

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[Dec., 


In accordance with the spirit of the age, and 
with the growing desire to raise temples, it be- 
came necessary, to prevent civil commotions, to 
direct the thoughts of the people to these objects. 
Accordingly, we find that a variety of oracles were 
established, whereat the Pythia exercised amoral 
control over the passions : the mind being also 
deeply impressed with a sense of awe by the 
grandeur and magnificence of these sacred build- 
ings. Hence, the splendour of the temples of 
Hercules, Apollo, Minerva, Diana, and Mars ; 
and more especially those of Jupiter and Latona ; 
and still more recently of Serapis, at Alexandria. 
— (Herodot. ubi supra, p. 78.) 

The influence of oracles on the Grecian and 
other people was also very powerful ; and, lest 
their effect should be weakened or neglected by 
their distance from the person wishing to con- 
sult, an expedient was adopted, by the con- 
trivance of the va our (*vyri<popovfifvovs, or temples 
drawn by oxen. — (Eustath. in Iliad. A. Serv. 
ad iEn. vi.) These were travelling oracles, con- 
nected with the great ones, and their responses 
were understood by the motions impressed upon 
the vehicle. This was also a custom in Egypt 
and Lybia, as well as Carthagenia, and even 
ancient Germany. — (Tacit, de Sit. Mor. et Pop. 
Germ.) Perhaps the temple of Moloch was a 
machine of this kind. The image of Agrostes 
was carried about in this way. 

But the Grecians were less superstitious than 
the Egyptians ; and, lest they should grow to be 
weary of stationary oracles and their offsets — the 
portable ones — Lycurgus, and other early legis- 
lators, tunied the attention of the people to the 
celebration of Games, w’hich might become the 
focus on which the genius of the people might 
fix and improve. “ To the many causes which 
formed the taste and excited emulation, must be 
added the institution of the Olympic Games — 
that hotbed of glory which warmed and vivified 
all Greece. How shall we explain their effects 
upon genius ? The image would be feeble, were 
we to liken it to the brightness of the solar rays 
piercing the Grecian host assembled on the 
Olympic stade between Mount Saturn and the 
river Alpheus. The Grecian citizens, each envious 
of the other, flocked to Olympia. Each city led 
thither its finest athletm and pentathli. It was 
rather an assemblage of states than of men at 
the Olympic Games. There poets sang their 
hymns; there historians recited their annals; 
there artists exhibited their chefs-d'ccuvres. 
Modesty characterized the conqueror, his friends, 
his master, his father, and his happy country. 
And when the victor was conducted to his city, 
made proud by being his birth-place, a breach in 
its wall gave him a free entrance. — (Plutarch, 
Simpos., lib. ii., cap. 5.) Polycletes and Myron 
modelled his statue for posterity. In a word, 
Pindar chaunted his victory ; Pindar consecrated 
to the conqueror, to his ancestors, and to all 
Greece, palms more durable than marble or 
brass. No, never has the genius of legislation 
seized upon the soul with a more sublime insti- 
tution. 

“ By such means was emulation excited and 
ennobled, and taste formed, directed, and pre- 
served. But Greece presented a more extra- 
ordinary phenomenon still: the indifference of 
the greater portion of its people for these same 
Arts, which we now think constitute her glory.” 
— (T. B. Emeric-David, sur l’Art Statuaire, 
pp. 90, 97.) 

It is unfortunate that the register of victors at 
the Olympic Games has not reached our times; 
and equally so that Phlegon’s 1G books, to- 
gether with his epitome of them, in 8 vols., 
giving an account of all the victors at those 
games, have been lost. Pindar’s praises of the 
victors at the Olympic, the Parthian, the Ne- 
miean, and Isthmian games (Suidas, p. 1671), 
relate, with perhaps one exception (in which he 
speaks of music) to wrestlers. Our accounts are, 
therefore, very imperfect. Strabo, speaking of 
the Olympic Games, says that an iEtolian colony, 


in league with some of the posterity of Hercules, 
subdued many Pisman towns, Olympia being of 
their number ; and that there they instituted the 
games. — (Gregr., 1. viii.) It is added, that the 
Pis&ans being afterwards conquered by the 
Elians, the latter assumed the management of 
the ceremonies. 

At an early period after their institution, they 
appear to have fallen into neglect; but on the 
return of Lycurgus from Egypt and Crete, he 
perceived in these games an agent highly favour- 
able to the prosecution of his newly-formed 
project of legislation in Sparta. He therefore 
concerted with Cleosthenes and Iphitus respect- 
ing their reinstitution. It was accordingly 
decided that the games should be revived. At 
this time (about 884 years before our era) 
Greece was bleeding from the wounds inflicted 
during a civil war, and wasted by a fearful pesti- 
lence. Iphitus, of the family of Hercules, and 
grandson of Oxylus, applied for advice to the 
Oracle of Delphi ; the answer returned was, that 
an armistice should be proclaimed, and the festi- 
vals, anciently celebrated at Olympia, on the 
Alpheus, revived. By these means only could 
the anger of the gods be appeased. The rc- 
institution accordingly took place under circum- 
stances of peculiar solemnity. 

The office of hellenodick, or j udge, was assumed 
by Iphitus alone, as being a descendant of Her- 
cules, in honour of whom the games were 
originally instituted. In the 15th Olympiad, 
two judges were chosen out of the Elean body; 
and in the 75th the number was increased to 
nine. Three others were afterwards added 
(Pausan.); and when the Arcadians overcame 
the Eleans, the number again decreased. Yet 
even in the time of the Emperor Hadrian there 
were not less than ten. — (Caelius Rhodiginus, 
Antiq. Lat., 1. xxii., c. 75 ; Alex, ab Alexand., 
1. v., c. 8.) “A show of hands often awarded 
the victory in poetry, music, sculpture, and 
painting; though Plato (de Legibus, 1.2) objects 
to this mode, as inferior to the appointment of 
judges. Among the Athenians, the judges of 
music w ere appointed by the archons, confirmed 
by the people, and held their office four years. 
Of theatrical pieces, the judges were five or seven 
in number (Lucian Harm.), sometimes ten (Meu- 
rius Parath., c. 7); they were chosen by lot 
(Plutarch, in Cimon). In painting and sculp- 
ture the judges were not always artists. Diog. 
Laertius (1. i., in Anachar.) quotes the astonish- 
ment of the philosophers, that among the Greeks 
artists disputed the prize; but it was not 
artists who decided the claims.” — (Catalogue of 
the Designs offered for the New Houses of Par- 
liament, 6th ed., 1836.) The fiat of the judges 
was absolute, even to the exclusion of a whole 
people, as in the case of the Lacedemonians, 
whom they excluded from partaking of the 
sacred rites, alleging that they had not paid the 
fine of 200 drachm®, for having transgressed a 
certain rule. — (Thucyd., 1. v.) 

Alluding to the rewards bestowed upon men 
who distinguished themselves at the Olympic 
Games, M. T. B. Emeric-David makes these 
remarks : “ Systems of rewards have their theo- 
ries. The honours given by the Athenians were 
so graduated, that (competition) never flagged. 
With what various rewards does their history 
present us ? The name of him to be honoured 
proclaimed in the theatre; proclaimed at the 
public games. A crown decreed by the senate ; 
a crowui decreed by the public; a crown given 
on the feast of the Panatheum. — (Demosth. et 
iEschin. de Coron.; Sam. Petit. Leg. Attic., lib. 
iii., tit. 6.) Portrait in the national palace ; por- 
trait in a temple. — (Pausan., lib. i., c. 3 et 21 ; 
Id., lib. x., c. 23.) Shield, bearing its owner’s 
name and the occasion of his inauguration, 
suspended in a temple. — (lb., lib. x., c. 21.) 
Maintenance at the Prytaneum ; maintenance for 
the father, for his children after him, and for 
their descendants for ever. — (Meurs. Athen. 
Attic., lib. i., c. 8.) Statue in a public place; 


statue In the Prytaneum ; statue in the temple 
of Delphos. Public and periodical games cele- 
brated at the tombs. To these distinguished 
honours (rarely bestowed in days of freedom — 
profusely in those of slavery), the name of a hero 
given to the statue of a god, his image painted 
upon the curtain (veil) of Minerva, which is 
spread at the Panathenea. — (Aristoph. in Equit., 
act i., scene 8, vers. 562 ; Suidas, in ircvAos ; 
Meurs. Panath., cap. 18.) These are but a part 
of the rewards to which in succession he is per- 
mitted to aspire. Perhaps we should pardon an 
enthusiastic people for one law to balance against 
this code of rewards : might it not be necessary 
to place ostracism as the counterpoise deification? 

“ Artists might obtain the greater part of these 
honours ; indeed the Athenians were reproached 
for bestowing the same reward on a singer as on 
a general officer. 

“The name of the artist was sometimes, by 
order of the magistrates, engraved at the side of 
a noble figure. Did they thereby intend to honour 
the inventor or direct the attention to the work ? 
Truly, they did both. Three fine statues are seen 
in a temple of Ceres— one of Ceres, the second of 
Proserpine, and the third of Bacchus; and on 
the wall, near, is written : Polycletes did these 
works. — (Pausan., lib. i., cap. 2.) 

“ Parrhasius, who called himself the prince of 
painters, carried as the insignia of that royalty, a 
purple mantle, a staff inlaid with a spiral of gold, 
and wore a golden crown on his head. — (Plin., lib. 
35, cap. 9 ct 10 ; (Elian. Var. Hist., lib. ix., cap. 
11. Athen., lib. xii., cap. 11). Nor does it ap- 
pear that public opinion was opposed to the 
conceit. 

“ WhenPolygnotushad painted, at Delphos, the 
taking of Troy, the Amphiclyons gave him their 
solemn thanks, and decreed that he should be 
feasted (qu’il auroitsa nourriture) at every Pry- 
taneum of Greece. — (Plin., lib. xxxv.,cap.9.) He 
received from the Athenians the freedom of the 
city. — (Plin. ibid.; Suid. in verb. irt\vyvorros.) 

u There was at Athena a particular law relating 
to the Fine Arts, expressed in these terms: — That 
THE GREATEST PROFICIENT IN EACH ART 
SHALL HAVE HIS MEALS AT THE PRYTANEUM, 
AND SHALL TAKE THE HIGHEST SEAT. — (Sam. 
Petit. Leg. Attic., lib. v., tit. 6.) 

“ The duration of this privilege depended upon 
superior merit. The same law adds : If a more 
proficient artist in the same department shall 
arise, the president shall concede the place of 
honourto him. — (Aristoph. in Equit.,actiy.,scen. 
1, vers. 1224— 1247, et seq. ; ibid, act v., seen, 
ult., vers, 1401, et seq.; Sam. Petit, loc. cit. ad 
not. et lib. iii., tit. 6.) 

“ The system of emulation thus established daily 
encouraged the most established artists to strive 
for honours which Socrates regarded the highest 
that a mortal could obtain. — (Qui honos apud 
Graecos maximus haberetur: Cicer. de Orat, lib. 
i., cap. 54.) An additional reward yet awaited 
them : the praises which fame shed upon them ; 
the pride of the cities which gave them birth.” — 
Sur l’Art Statuaire, p. 151 — 156. 

Of the Herman and Nemman Games, or fes- 
tivals, we will give a short account. The former, 
we are told, were established by Archinus, tyrant 
of Argos, though others impute them to Lynceus, 
King of Argolis, about the year of the world 
2558. They were called Herman, from the Greek 
word (Liv., 1. xxvii., c. 30), ypri, signifying Juno, 
whom they worshipped in Argolis as their tutelary 
goddess, and in her honour this festival was 
first instituted, though the games were common 
also to other parts of Greece, and to the islands 
of Samos, jEgina, and Cos. At Corinth the 
ceremony was a mournful one, from a tradition 
that Medea, after killing her children, instituted 
other games in atonement for her crime. — (Pau- 
san. in Corinth. ; Suidas, Polymn ; Athenmus, 
&c.) The ceremony at Argolis consisted of a 
pompous procession. The statue of Juno, of 
ivory and gold, and said to be one of the best 
of the works of Polyletus, was carried in a 


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chariot, drawn by two white oxen; while the 
image of Trochilus, the first priestess of Juno 
Argiva, was placed in the driver’s seat. The 
ministry to this goddess was granted to none but 
women of great distinction. When the religious 
ceremonies were over, the sports began. The 
conqueror was rewarded with a crown of myrtle, 
with which he paraded the streets several succes- 
sive days, amid the acclamations of his fellow 
citizens ; and parading also a shield or buckler, 
which he had won. — (Ubi supra.) 

Of the Nemeean Games, we are told by some I 
that they were instituted in honour of Arch£- 
morus, the son of Lycus ; and others say of 
Lycurgus, King of Thrace, to allay his grief for 
the death of a son. Many think they were insti- 
tuted before the Theban war. At all events, they 
were revived by Hercules, and consecrated to 1 
Jupiter in thanksgiving for the victory he had 
gained over the Nemeean lion. — (Pausan. ubi j 
supra.) These games were common to the 
Argians, Corinthians, and the inhabitants of 
Cleonae, who each chose a president by turns. — 

I (Pausan. Atheneeus, kc. ; Euseb. in Chron.) The 
victor was rewarded with a crown of olive, and 
of smallage, which was made use of in funeral 
ceremonies, and here to renew the memory of 
the death of Archemorus. We are informed by 
Clemens Alexandrinus, that on these occasions a 
funeral oration was pronounced, and the judges 
appointed to distribute the rewards were clad in 
mourning. — (Polycen. ubi supra.) 

In addition to the games in Greece already 
mentioned were the Isthmian, Pythean, Thesean, 
and others. But the object proposed in each 
was the same, namely, to promote literature and 
the Arts, and gymnastic exercises ; the rewards 
being, as already shown, of a purely honorary 
kind, save only in respect to meals, which were 
given gratuitously to the victors. 

As the ancient Roman system, in respect to 
competition and rewards, stands opposed to that 
of Greece, it will be necessary that we give some 
account of it here, in order that our readers may 
be prepared to judge of the merits of the two, and 
in how far the better one may be taken as a 
model adapted to our own times and circum- 
stances. 

The Romans were great imitators of the 
Grecians in their institutions, their customs, and 
their games. The first Tarquin introduced the 
ludi magni. And after Rome had escaped cap- 
ture by Brennus and his Gauls, and the great 
Camillus had voluntarily laid down the dic- 
tatorship, the city became distracted by civil com- 
motions and the quarrels of consuls, and the in- 
habitants, wasted by a pestilence, thought it 
advisable to institute fresh games to conciliate 
the favour of the gods, and as a means of allaying 
the irritated spirit of the people, and giving them a 
fresh direction. — (Liv., 1. vii., c. 2.) An extra 
day was, therefore, added to the ludi magni , and 
the name changed to ludi maximi. And though 
the temple of Concord was built for the occasion, 
the experiment was a failure. 

Fifty years later, Fabius Pictor introduced the 
art of painting, and himself painted the temple of 
the Goddess of Health. — (Liv., 1. x., c. 1.) But 
neither did this succeed, though Fabius was after- 
wards consul. Forty years ufterwards the temple 
of Juno Monita was built; hence the word 
money. — (Suidas, in voce pove t«.) But the 
Fine Arts excited little attention till the arrival 
of the immense spoils in statues and pictures 
from Corinth and Carthage, B. C. 146, upon 
which occasion Grecian games were celebrated 
with extraordinary magnificence. — (Cic. in 
Brut. : Valer. Max., 1. v., c. 7, et 1. iii. et viii. ; 
Ovid, Fort., 1. v. ; Phil, in Mario et Sylla.) 

But we must return to the period when the ludi 
maximi were established. A year after that 
event, a new kind of exhibition was invented, 
called the Scenici , from their being performed on 
a stage built in the shade. — (Liv., 1. vii., c. 21.) 
Tiie performers were brought from Etruria, and 
were called Ulster , which signifies, in their 


language, a player. The histriones were dancers, 
and were at first unaccompanied with verses. 
Afterwards the Roman youth imitated these 
foreign dances, mixing up jokes and raillery. 
This was succeeded by satires written in verse ; 
and some years later, Divius Andronicus turned 
these satires into regular plays. The farces were 
discontinued for a time, but were afterwards 
acted at the end of serious performances. Among 
the Grecians the profession of an acter was 
honourable ; JEschylus, in his youth, acted on the 
stage at Athens. — (Demosth. in Orat. apud 
Quinctil., 1. ii., c. 17.) Aristodemus, though an 
actor, was sent as ambassador to Philip, King of 
Macedonia, in the name of the republic of 
Athens. But the Romans, acting upon an oppo- 
site principle, sought to dishonour the stage per- 
formers. They prohibited the histriones from 
serving in war, or filling any post of honour in 
the state ; and an actress was considered in- 
famous: “Ait pnetor,” says Ulpian, “ qui in 
9cenam prodierit, infamis est.” — (Ulpian, 1. ii., 
par. 5, &c.) 

The combats of Gladiators in Rome were truly 
ferocious. It is said they were introduced from 
Etruria, having come thither from Greece : their 
object being to supersede human sacrifices ! Ac- 
cording to Valerius Maximus (Valer. Max., lib. 
ii., c. 4 ; Liv. Epit., lib. xvi.), the first shopr of 
gladiators, called munus gladiatorium , was ex- 
hibited in Rome in the year of the city 484. 
They were introduced by M. and D. Brutus, 
upon the death of their father. In process of 
time the Romansgrew so attached to these enter- 
tainments, that the heir of any great or rich 
citizen deceased, and all the chief magistrates, 
presented the people with shows of this kind, to 
procure their esteem. And thus the eediles, 
praetors, and consuls, and every candidate for 
office, made court to the people by entertaining 
them frequently with these figlits, which at first 
consisted of only three couple of gladiators, but 
afterwards to 320 couple (Dio Cass.); and in 
Trajan’s time to 1000 couple. In the time of the 
republic the number of gladiators was so great 
that, when the conspiracy of Cataline broke out, 
the senate ordered them to be distributed to 
the strong-holds. — (Ubi supra.) The rewards to 
the conquerors were a crown of mastich and a 
palm branch ; sometimes a small sum of money, 
and more rarely their liberty ; the gladiators being 
for the most part slaves, whose masters let them 
out for hire at immense prices. — (Dio Cass., lib. 
xlvii. ; et Suet, in August., c. 43.) They engaged 
them by the most fearful oaths never to give 
ground, but to fight to the last extremity. If 
one of them was exhausted in the fight, or 
horror-struck at the approach of death, held 
up his finger and laid down his arms, as appeal- 
ing to the mercy of the assembled audience, 
which sometimes consisted of 260,000 persons 
of both sexes (Plin., 1. xxxvi., c. 15), they not 
unfrcquently took pleasure in giving him up 
to the fury of his adversary, denoting their wish 
by bending back their thumbs, and shouting 
Recipe ferrum } which resounded from every part 
of the vast amphitheatre. 

Soon as the mournful sound of the trumpet 
proclaimed the death of a gladiator, an iron hook 
was fixed into his flesh, and his body was igno- 
miniously dragged from the spot, through one of 
the gates of the amphitheatre, to the spoliarium, 
where it was rifled and stripped ; and, if still 
breathing, inhumanly dispatched. Crowds of 
people then flocked thither to apply their mouths 
to the wounds and thence suck the blood before 
it congealed, out of a persuasion that it was a 
sovereign remedy for the falling sickness ! — 
(Plin., lib. xxviii.) 

Horrible as were these scenes, they were not 
revolting to the feelings of the Roman people ; 
and even young men of family, who had dissi- 
pated their patrimony, were not ashamed to hire 
themselves us gladiators ; nay, even knights and 
noblemen, and senators ended a life of infamy 
and debauchery as common gladiators. So 


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notorious and scandalous had it become, that 
Augustus published an edict prohibiting, under 
severe penalties, any one of reputable parentage 
from taking up this disgusting profession. In 
the reign of Nero, however, this law had become 
a dead letter; there being no fewer than 400 
senators and 600 of the equestrian order who 
fought on the arena as gladiators. — (Suet, in 
Ner., c. 12.) At length Commodus entered the 
lists in this capacity, and took a pride in signing 
often his name, “The Conqueror of 1000 Gladi- 
ators.” He was, however, at last strangled by 
Narcissus, a famous wrestler. — (Vit. Comm., 
p. 51.) 

Even women of distinction engaged in these 
public conflicts, as we learn from the Satirist : — 
“ Quale dicus nerum, si conjugis audio fiat, 

Balteus, et manioc, et cristc crurisque sinistri 
Dimidium tegmen ? vel, si diversa movebit 
Prclia, tu felix, ocreas vendente puella. 

Itc sunt que tenui sudant in cyclade, quarura 
Dilicias et panniculus bombycinus urit. 

Aspice quo fremitu monstratos perferat ictus ; 

Et quanto galea curvetur pondere ; quanta 
Popiitibus sedeat, quam densof&scio libro Juv., 
satire vi., ver. 255, et seq.) 

From the disgusting to the ridiculous there is 
but one step, as exemplified in Rome by the 
combats of dwarfs, which diverted the people 
exceedingly, especially when any one of them 
engaged with a gladiatress. — Statius, 1. vi., ver. 57, 
et seq.) 

We are informed by Petronlus Arbiter, that 
these combats were introduced out of supersti- 
tion, but were maintained out of policy, that the 
people might look on blood and slaughter as 
matter of diversion, and thereby become valiant. 
But games and scenic representations seemed 
only, like the combats of gladiators, to brutalize 
and debauch the mind of the Roman people : 
they engendered depravity of manners and corrup- 
tion of morals through all classes, whatever the 
rank or sex. The exercise of the Fine Arts in 
Rome, as they failed of producing the morbid ex- 
citement occasioned by witnessing the combats of 
gladiators, found little favour, and, except one 
of its branches— architecture — would never have 
arrived at mediocrity, but for the genius of Vitru- 
vius and Apollodorus. It may even be doubted 
whether Rome would have had a respectablelitera- 
ture had it not been for the academies at Athens, in 
which the Roman youth received their education. 
Brutus constantly attended the lectures of Theom- 
nestus, the academic, and Cratippus, the peripa- 
tetic, in order to gain the affection of the young 
Roman noblemen, who studied under those 
philosophers, among whom was Marcus Tullius 
Cicero’s son. In one of his letters to Tiro, 
Marcus thus writes : “ I have hired a place hard 
by me for Brutus, and, as much as my poverty 
permits me, relieve his wants. I intended to 
declaim in Greek before Cassius, but before 
Brutus I will perform my exercise in Latin,” &c. 
(Cic., 1. xvi., ad famil. epist. 21.) Indeed, 
Cicero himself pleaded in Greek before Apollo- 
nius the Alabandian, who was not, as Plutarch 
informs us, well versed in the Latin language ; 
and that he bestowed this praise on the Roman 
orator : “ Take courage, Cicero : I both praise 
and admire you ; but I am sorry for poor Greece, 
when 1 9ee the two only ornaments that were left 
us, learning and eloquence, transferred from us by 
you to the Romans ?” (Plut. in Apollon.) And, 
while upon this subject, it may be mentioned 
that, in order to encourage polite learning, Au- 
gustus endeavoured to check the taste for the 
exhibition of gladiators. — (Discap.,p. 521 — 524 ; 
Suet, in Octav.) Vespasian was the first, how- 
ever, who settled salaries on professors of rhetoric 
both in Greek and Latin, to be paid annually out 
of the exchequer. — (Suet, in Vesp., c. 17, 18.) 
Antoninus Pius likewise bestowed great privi- 
leges and salaries upon such men as undertook 
the education of youth in every part of the pro- 
vince. After this digression, I proceed to the 
account of the Roman games. 

Caligula began his third consulship at Lyons, 
and exhibited probably there the magnificent 


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sports of which Suetonius and Dio Cassius make 
mention. — (Suet, c. 25.) Upon this occasion 
he ordained a solemn contention of eloquence, 
both in Greek and Latin, and obliged those who 
were overcome to give rewards to their compe- 
titors, and compose a piece iu their praise. Those 
who gave no satisfaction at all were condemned 
to be whipped like schoolboys, or cast into the 
Rhone. — (Suet., c. 20.) Hence also the verse of 
Juvenal. — (Juv., satire i., ver. 44.) 

In the year A. D. .59 or GO, Nero instituted, at 
Rome, the Quinquennial Games, for the improve- 
ment of wit and genius, and for contests of elo- 
quence and poetry, on which occasion the 
players and pantomimes, who had been banished 
in a preceding reign, were recalled and restored 
to the stage. —(Tacit. Annal.) 

A.D. 87, Domitian, upon entering his 12th 
consulship, instituted the Capitoline Sports, in 
honour of Jupiter Capitolinus, the Emperor 
attending in person, with the priest of Jupiter 
and the college of the Flavian priests. — (Suet., 
c. 4.) The following year he celebrated the 
Secular Games. They were called secular , 
because celebrated only once in an age. — (Onuph. 
Lud.; Tacit. Annal., 1. xi., c. 12.) 

Having now alluded to the greater number of 
games which were instituted in Greece and Rome, 

I will follow the same plan, so far as it may be 
practicable, in treating — 

2nd. Of Competition, considered as a means 
of national improvement ? 

Before the system of competition was systema- 
tically established by the ancient Grecian phi- 
losophers and legislators, the inquiring mind of 
mau was directed to the solution of riddles. 
Thus we find Samson proposing his riddle : “ And 
Samson said unto them, I will now put forth a 
riddle unto you : if ye can certainly declare it me 
within the seven days of the feast, and find it 
out, then I will give you thirty sheets and thirty 
change of garments : but if ye cannot declare it 
me, then shall ye give me thirty sheets and thirty 
change of garments. And they said unto him, 
Put forth thy riddle, that we may hear it.” — 
(Judges, xiv., 12 & 13.) 

The Sidonians and Phoenicians were of a most 
happy genius and disposition. It has been said 
that arithmetic and astronomy were brought to 
great perfection by them (Strabo, 1. xvi., p. 757) ; 
and that they conveyed them into Greece 
(Idem.) together with letters. — (Herodot., 1. v., 
c. 58.) They were, indeed, from the beginning 
addicted to philosophical exercises of the mind ; 
hence, Moschus, a Sidonian, taught the doctrine 
of Atoms before the Trojan war. — (Posidonius j 
apud Strab., ubi supra.) They were great pro- 
posers and propounders of riddles also; for we 
find that Abdomenus, of Tyre, challenged Solo- 
mon, though the wisest king on earth, to answer 
the subtle questions he proposed to him. — (Re- 
naud et Dius apud Joseph., 1. viii., c. 2, et cont. 
Ap., 1. i.) 

Between Solomon and Hiram, King of Tyre, 
a great friendship subsisted, the love of wis- 
dom being the chief motive to it. — (Joseph., 
ubi supra, et 1. i., contra Appian.) They 
frequently interchanged certain riddles, the con- 
ditions being, that lie who failed of the solution 
should incur a forfeiture. The same writer states, 
that Hiram, finding the questions too hard lor 
him, paid the peualty; whereupon Abdomenus, 
the Tyrian before spoken of, resolved the said 
question, and, as we have shown, proposed new 
ones to Solomon. (Dius, as quoted by Joseph., 

1. viii., c. 2.) 

Among the early Grecians, we learn that Chiron 
was skilful in horsemanship, astronomy, music, 
and poetry; that he taught /Esculapius physic, 
and Achilles music and poetry. When the Ar- 
gonauts were oil their voyage in pursuit of the 
gohh u fleece, they visited on their way the cave 
of Cliiion, in order to leave the young Achilles 
under his cart* for education, ami to receive some 
instruction in astronomy, to enable Jason and his 
crew to direct their course towards .Eu, the capi- j 


tal of Colchis. Chiron received the fifty adven- 
turers, and entertained them with such hospi- 
tality as his frugal habits afforded; after which, 

“ Achilles stretched his hand, and gave the beauteous 
shell, 

Which Chiron took, and sang the Centaur combat 
fell,” &c. 

Orpheus was then, as one of the Argonauts, in- 
vited to prove his skill, which he did with so 
much sweetness, that the stones rushed to the 
mouth of the grotto, as did also the wild beasts 
and the birds, to listen to the enchanting strain ; 
which when, 

“ Amazed, the Centaor saw, his clapping hands he beat : 

And stamped in ccstacy the rock with hoof’d ana 
horny feet.” — ( Maria Hack's Grecian Stories , 
quoted from specimens of classic poetry. 

These were, perhaps, the first examples of 
competition afforded by early historians or 
poets, and they are sufficient to show that the 
principle was acted upon at a very' early period. 
Indeed I might have gone back to a much further 
time, bad I conceived it to be necessary. I will 
therefore proceed with this portion of my subject 
without interruption. 

The time at which Orpheus and Homer lived, 
and our historical notices of them, are all too 
uncertain to enable us to determine w'hether they 
wrote in competition with each other. With 
resppet to Alcaeus, we learn that he was contem- 
porary with Sappho ; but another Alcceus, about 
the 44th Olympiad, was the inventor of the Al- 
caic verse (Plutarch, in Vit. Flamin.) ; and for 
which it is probable he obtained the prize of 
poetry. There was another poet of this name, 
who, in a battle, is said to have betaken himself 
to flight, and left his armour behind him, which 
the Athenians, who gained the day, hung up in 
the Temple of Minerva, at Sigeum. The unfor- 
tunate poet lamented this disgrace in a poem, 
which he dedicated to Menalippus, who attended 
him in his flight. — (Herodot., 1. v., c. 95.) Ar- 
chilochus, of Paros, invented iambic verse. — 
(Horat. dc Arte Poetica.) His verses were so 
satirical that Lycambes, against whom he wrote, 
hanged himself out of despair. The famous 
Stesichorus is said to have combined the dance 
with poetry. — Cicero informs us (Cic., act ii. 
in Verr.), that among the ruins of the old city 
of Himera was found a statue of a stooping old 
man, with a book in his hand, which was sup- 
posed to be Stesichorus, and was deemed a mas- 
ter-piece of Art. If this account be true, it is 
clear that be must have gained the prize; and 
if so, we may reasonably suppose that each of 
the former-named poets also gained prizes for 
their inventions ; and that, if they gained prizes, 
they must have had competitors. 

When the island of Scyras was reduced by the 
Athenians, under Cimon, he brought from thence 
the bones of Theseus; and, to commemorate that 
event, a yearly contest for tragic writers was in- 
stituted at Athens. On this occasion Sophocles 
brought his first performance on the stage, and 
won the prize, though he had iEschylus, his 
master, for his competitor ; which the conquered 
poet — who till then had had no equal, and was, 
therefore, considered the best tragedian of his 
age— was unable to brook, and withdrew to Sicily, 
where he spent the remainder of his life. jEscby- 
lus had written, up to the period of his defeat, 
no less than seventy tragedies, of which twenty- 
five gained the prize. And Sophocles himself 
is said to have died of joy, in the 95th year 
of his age, at the unexpected success of one of his 
dramas at the Olympic Games. It was the suc- 
cess of Sophocles which induced Euripides also 
to retire from Athens. He then became the 
guest of Archelaus, King of Macedonia, the friend 
of learning and of learned men. — (Diod. Sic., 
1. xii.) With respect to Sophocles and Aeschylus, 
it may be said that both possessed a lofty 
genius ; but that the former was more sublime 
in his ideas, and in his expressions more intel- 
ligible. lie also succeeded better in moving the 
passions ; and, by the judicious mixture of terror 
and pity, awakened more lasting impressions in 


the audience : whence he was called the Bee. 
Euripides, on the other hand, is considered more 
elaborate and correct ; and he gave to his pieces 
a moral effect, which the other two did not aim 
at. And, so much was his muse admired, that 
after the last great defeat of the Athenians before 
Syracuse, many of the prisoners were released, 
by only repeating some of his verses. 

One most important conclusion is to be drawn 
from the above examples, namely, that in the age 
of Cimon and Pericles, the golden age of 
poetry, poets of the most established reputation 
thought it no dishonour to compete for prizes 
with the “ merest tyro ;” and that to this cause 
may be imputed the progressive improvements 
which were made in poetry. “ For Plutarch ob- 
serves, in his life of Solon, who lived 593 years 
before Christ, that about this time began Thespis 
to set out his tragedies, which was a thing that 
much delighted the people for the rareness thereof, 
being not many poets yet in number to strive one 
against another for victory , as afterwards there 
were .” — (North’s Translation of Plutarch, p. 80.) 

A great sensation was excited when Dionysius, 
the tyrant of Syracuse, competed for the prize of 
poetry at the Olympic Games : not because he 
was a king, and therefore an unexpected com- 
petitor, but because he was hated bv the Athe- 
nians for his tyranny. The j udges decided against 
his comedy, which want of success deeply morti- 
fied him. — (Diod. Sic., 1. xiv.) He afterwards 
took fresh courage and wrote a tragedy, which 
w f a? acted at Athens, and the prize of poetry was 
unanimously awarded to him. The Athenians 
were the best judges of this kind of poetry, and 
their award mq$t be considered just, from the 
personal enmity in which the author was held. 
The transport of joy which this victory gave him 
was so immoderate, that he died from excess of 
delight. — (Diod. Sic., I. xiv., c. 12 ; Plutarch, 
Moral.) 

In short, it was by the wholesome practice of 
competition that the genius of the three great 
tragic writers was unfolded; that comedy was 
brought to perfection by Aristophanes, Phryni- 
cus, Aristarchus, and Cratenus (Philemon was 
the successful competitor of Menander) ; that the 
lyric muse of Pindar and Anacreon soared aloft. 
It was under the same stimulating influence that 
Herodotus, Thucydides, and Zenophon recited 
their histories. It was the pursuasive oratory of 
Callistratus that awakened the emulation of De- 
mosthenes, and that he himself was opposed 
by iEschynes. It was emulation which raised 
Plato above the earth, and which sunk Diogenes 
beneath it ; that made Heraclitus the “ crying 
philosopher,” and Democratus the “ laughing 
philosopher.” It was the love of glory, and the 
hope of having statues erected to them, which 
brought out the mental qualities of Myron, Poly- 
cletes, and Praxitelles ; of Polygnote, Zeuxis, Par- 
hasius, Protogeues, and Apelles. 

Of literary competition at the Roman Games 
we can, perhaps, form no just idea. Publius, a 
slave, in the time of Julius Caesar, acquired great 
applause for his wit, and for many comic pieces 
which he wrote, and which obtained for him his 
manumission. He challenged all the dramatic 
writers and orators at Rome, and carried the 
prize from every competitor. — (Macroh. Saturn., 
1. ii., c. 7.) 

These remarks, although prolonged somewhat 
beyond our original design, must be considered 
hut as pioneers to open the way to more pressing 
and immediate matters. 

The subject is one of very vital importance, 
and imperatively demands to be treated in all 
its bearings ; not alone in reference to its exist- 
ing association with Art, but as influencing, gene- 
rally, the public mind. The changes which have 
been produced within the last ten years have been 
greater than they had been daring the previous 
century. The wonderful past is, however, but 
the parent of a far more wonderful future. 


Digitized by kr.ooQle 



THE ART-UNION 


277 


1842.] 


OBITUARY. 


ALLAN CUNNINGHAM. 

This excellent gentleman— who, if not an artist, 
was for so long a period closelv and intimately 
connected with the Arts — died at nis house in Bel- 
grave-place, Pimlico, on the 5th of November, 
at the age of 57. His death was almost sudden ; 
although he had been, for a considerable time, in 
an ill state of health, his constitution having been 
shaken by two attacks of paralysis. He was bom 
of comparatively humble parents, at Blackwood, in 
Dumfriesshire ; and, when little more than a child, 
was placed apprentice to a stone-mason. Almost 
as soon, however, he began to cultivate acquaint- 
ance with the muses ; his genius obtained reputa- 
tion beyond the precincts of his home ; and he 
made his way to the great mart of Talent, self-de- 
pendant, to achieve fame, obtain respect, and gather 
fortune. From time to time he published his 
works — novels, poems, and biographies; among 
the latter, his “ Lives of British Painters, Sculp- 
tors, and Architects,” are deservedly popular : 
and aiding his 44 means” by his position m the 
studio of Sir Francis Chantrey, where he was oc- 
cupied for several years as manager of his extensive 
concern. Mr. Cunningham had finished a life of 
his friend, Sir David Wilkie, only the day before 
his own death. This work, now on the eve of 
publication, we shall be called upon to review. 

We should have much to say of this accomplished 
and estimable man ; but that wc are saved the 
labour by adopting the following notices of him, 
written by Mrs. S. C. Hall. They are extracted 
from the Britannia , an excellent, valuable, and 
ably-conducted weekly newspaper, where they were 
printed anonymously. Notwithstanding their 
length, the reader will, we hope, consider us justi- 
fied in copying them : — 

44 So many of those who but a few months ago consti- 
tuted a prominent portion of the present of my own time, 
are become so completely of the pasty that 1 cannot 
look back without chronicling death after death, so as 
to force the considerations we too often try to put far 
from us, as to the uncertainty of life. W e are all, indeed, 
ready to admit the uncertainty of this precious treasure, 
yet we act as if it were, at least, as enduring as the sky 
above us, or the earth upon which we tread. 

“ Wilkie, Chantrey, and Allan Cunningham— painter, 
sculptor, and poet— men eminent amongsttheir fellows, 
not only for talent, but for high moral worth and in- 
tegrity of purpose— are passed away. It seemed as if, 
united as they were by the strong bonds of friendship, 
in death they should not be divided. The completion 
of Chantrey’8 works was intrusted to Allan Cunning- 
ham, who had finished a life of Sir David Wilkie only 
two days before he was struck, for the second time t with 
paralysis, which terminated fatally on Saturday last. 
This estimable man has left behind him an honourable 
name, and a noble example of what may be accom- 
plished by those who, combining talents with industry, 
are capable of the great effort of concentrating their 
energies upon a given point, and are thus certain to 
conquer difficulties and achieve greatness, if God spare 
them health and life. The career of Allan Cunningham 
is one of the most encouraging instances of literary 
success in mo 1' . times; progressing steadily onward, 
not jerked forward by unnatural excitement, nordrawu 
back by any decided failure. True, it must be recol- 
lected that hie occupation in Chantrey’s studio gave 
him a steady incomefsteadied from literary fluctuation), 
and that this was a great step towards victory; still his 
success, under all circumstances, was worthy of a strong 
and original mind. 

44 It is now about fifteen years since I first saw Allan 
Cunningham; and I can recall the interview as clearly 
as though but an hour had intervened. It was before I 
had been much in literary society, or become personally 
acquainted with those whose works bad entered into 
my heart. 1 remember how my cheek flushed when 
he took me by the hand, and how pleased and proud I 
was of the few' words of praise he bestowed upon one of 
the first efforts of my pen. He was at that time a tall, 
stout man, somewhat high shouldered, broad chested, 
and altogether strongly proportioned ; his head was 
well and erectly placed ; nis mouth close yet full ; his 
nose thick and firm ; his eyes, of intense darkness, for 
I never could define their colour, were deeply set be- 
neath shaggy yet moveable eyebrows, and were, I 
think, as powerful, and yet as soft and wincing, as any 
eyes 1 ever saw. His brow was very noble and ex- 
panded, indicative not only of imagination and obser- 
vation, but, in ita towering height, of that veneration 
and benevolence which formed so conspicuous a por- 
tion of his character. His accent was strongly Scotch, 
and he expressed himself when warmed into a subject 
with eloquence and feeling, but, generally speaking, 
his manner was quiet and reserved; not, however, 
timid and gauche f like that of Sir David Wilkie, but 
easy and seif-possessed, quiet from a habit of observing 
rather than a dislike to conversation. Admire him or 
not as you pleased, it was impossible not to respect the 
man who, so completely the architect of his own for- 


tune, was never ashamed of being so, and would state 
the fact as an encouragement to those who needed his 
example to steady their progress. Burns cultivated 
his poetic vein while performing the laborious duties 
of anusbandman ; and Allan Cunningham, while chisel- 
ling granite in his native country, breathed forth his 
soul in poetry. A gentleman, who for a long time con- 
ducted oneot the most influential and the most fashion- 
able journals of the day, told me that it was a letter 
from him to the young poet which brought him to 
London, some fivc-and-tairty years ago. whether this 
was really so or not I cannot tell ; but, whatever brought 
him to London, his own exertions kept him there, and 
his own steady, manly, and straightforward conduct, 
united to considerable and varied talent and most ex- 
traordinary industry, both in the acquirement and ap- 
plication of knowledge, rendered his society courted by 
the first people in the country. In after years, when it 
was my privilege to meet him frequently, it was plea- 
sant to note the respect he commanded from all who 
were distinguished in Art and literature. Miss Lan- 
don used to say that ‘ a few of Allan Cunningham’s 
words strengthened her like a dose of Peruvian bark ;’ 
and there certainly was something firm and substantial 
rather than brilliant in the generality of his observa- 
tions, except when roused upon a literary or political 
question: then, in the brief pause that preceded the 
utterance of his opinions, his mouth would open and 
bis eyes dilate with those lightnings that were sure 
to flash in unison with a bright rush of strong and 
natural feeling. He never referred to his own works 
in conversation. If any question were asked about 
them, or any compliment paid to them, he gave the 
required information, or received the praise, without 
any display or affectation. Constant and familiur 
association with persons of high mind and extensive 
cultivation creates, if not a harsh spirit, certainly a 
spirit of criticism, where pretensions are made by the 
unworthy or the feeble to a high intellectual position. 
Allan Cunningham was considered a severe critic: 
but, setting aside his knowledge of books, the friend 
of Scott, Southey, Wordsworth, and Wilson had a 
right to be fastidious. And, in addition to this, he 
entertained a most sovereign contempt— a decided 
antipathy— to every species of affectation, particularly 
of literary affectation, and certainly lashed it, even in 
society, by a terrible word or look, which could never 
be forgotten. But in tbe same degree that be ab- 
horred affectation was his love of nature. 4 Wherever,’ 
he would say, 1 wherever there is nature— wherever 
a person is not ashamed to show a heart— there is 
the germ of excellence. 1 love nature /’ And so he 
did. llis dark eyes would glisten over a child or a 
flower ; and a ballad, one of the songs of his own dear 
land, move him, even to tears, that is, provided it was 
sung 4 according to nature,’ the full rich meaning given 
to the words, and no extra flourish, no encumbering 
drapery of sound forced upon the melody. One of the 
happiest and most interesting evenings of my life I 
passed at his house, about ten years ago, in the society 
of Captain (now Major) Burns (the poet’s son), and 
poor James Hogg, just at the time when the London- 
ers, glad of anything to get up an excitement, turned 
the head of the Ettrick Shepherd by a public dinner, at 
the period when the seven or eight hundred pounds so 
expended would have been of incalculable value to a 
man who, with some of Bums’ talents, inherited all his 
heedlessness. On that particular evening nothing could 
exceed poor Hogg’s hilarity ; in person he was burly, 
of a ruddy complexion, with the eye of a Silenus, and 
one of those loosely-formed mouths that indicate a love 
of pleasure, be it purchased how it may. Captain Burns 
sang several of his father’s songs with a pathos and ox- 
ression that added to their interest, and stimulated the 
bepherdtosinghisown. Nothing could be more opposite 
than the minstrelsy of these two men ; but both were 
natural according to their nature, and so Allan Cun- 
ningham enjoyed both. 1 can recall James Hoggsitting 
on the sofa— nis countenance flushed with tiie excite- 
ment and the 44 toddy,” of which he was not sparing, 
more in his earnestness, bis wildness, his irrascibility 
(particularly when he alluded to 44 the poets”), certainly 
more like a half wild Irishman than a steady son of the 
thistle— shouting forth his songs in an untunable voice, 
rendered almost harmonious by the spirit he threw into 
it, and giving ns an idea of the circumstances con- 
nected with the birth of each song at its conclusion ; 
one in particular I remember, * The Women-folk.’ 
4 Ab, ah 1 ’ he exclaimed, echoing our applause with his 
own hands, 4 that is my favourite humorous song, sure 
enow 1 when 1 am forced by the teddies to sing against 
my will, which happens mair frequently than I care to 
tell; and notwithstanden’ that my friend Allan stands 
glowerin’ at me with his twa een, that might have 
been twins with those of Bobby Burns, they’re so like 
his. That song, notwithstanden’ my wood-notes wild, 
will never be sung by any so well again.’ 4 An’ that’s 
true ! ’ replied Cunningham, 4 that’s true ; because you 
have the nature in you ; but you’re wrong about the 
eyes; the only ones I ever saw flash fire like bis father’s 
(alluding to Capt. Burns) were those of Michael Thos. 
Sadler.’ 

44 This opinion I heard Allan Cunningham frequently 
repeat, and I suppose that both were right ; for, cer- 
tainly, there was a great similarity between the eyes, 
both as to colour and expression, of the then popular 
member for Leeds and Cunningham’s own. I had an 
opportunity of comparing them a few evenings after at 
my own house, where the same party were assembled, 
with numerous literary additions not easilyHyQJwilsfc 


There was Mi^s Laiulon, in a dress of scarlet cashmere, 
that rendered the purity of her complexion and the 
dark brilliancy of h r Imromleyps a perfect atonement 
for the want. of distinctive features; there she was, full 
of ready smiles and kind appropriate words ; brilliant 
with an umvo muling wit, and ready to withdraw her- 
self to exhibit the perfections of others— the most 

enprous of her sex and calling. There was Miss Jews- 

ury, new to the vastuess and extent of London literary 
society, her quick nnd generous appreciation of excel- 
lence leading her to admire what deserved admiration, 
while, at the same time, her womanly vanity was 
wounded to see that she, the marvel of Manchester, was 
no wonder in London ! There was Barry Cornwall, 
with bis calm, philosopher-like repose of observa- 
tion ; Mrs. Hofland, true, earnest, ana faithful; La- 
man Blanchard, an animated epigram ; Wilkie, whose 
pale, sad brow gave little intimation of the vigour 
of 4 The Chelsea Pensioners,’ or the humour of 
4 Blind Man’s Buff*;* Miss Edgeworth, a rare visi- 
tor in London, but an honoured one wherever she is. 
Amongst them, llogg, not quite so noisy as before, and 
anxious to see L.E.L., who well knew that he had 
written much and harshly about her. Their meeting 
was singular enough. Hogg edged towards where 
she sat, fidgetting as she always did upon her chair; 
he went up like a schoolboy that deserved a flogging, 
and half expected he should get it, instead of which 
the slight, girii3h-looking poet extended her small 
white hand towards the huge red list that seemed 
uncertain what to do. The appeal, accompanied by 
her bright smile, was irresistible. 4 God bless ye !* 
he exclaimed, involuntarily, ‘God bless ye! I did 
na’ think ye’d been sae bonny. I ha* written many 
a bitter thing aboot ye, but I’ll do so nue mair. I 
did nae think ye’d been sae bonny.’ In one corner 
poor Emma Roberts was talking orientally to Martin 
the painter ; and in another, in deep under-toned dis- 
cussion, sat Wordsworth, Sadler, and Allan Cun- 
ningham. I never saw three more striking heads 
grouped together: Wordsworth’s so expanded and 
full, sprinkled with hair too thinly to add to its size 
or change the character of its proportions; Sadler’s 
smaller and feebler, but beautiful, covered with folds 
of premature white hair ; Cunningham’s, as full but 
not as white as Wordsworth’s — fuller, indeed, for 
the organs of observation were more developed— and 
the aspect of the head and face was darker, more con- 
centrated than either; and then I compared the eyes 
of Cunningham and Sadler, having great faith in eyes, 
which are, according to my belief, the true indexes of a 
poetic temperament, nnd the most expressive of all the 
features. After their discussion was ended, so quickly 
were my ears attuned to catch their words, that I 
heard the deep, monotonous voice of the author of ‘The 
Excursion’ reciting some lines that forced his friends, 
who gathered in his words with bended heads, to ex- 
change glances of admiration, until at last Allan could 
not help exclaiming, 4 Ah ! but that is nature !’ 

44 Those were brilliant hours— brilliant and full of 
pleasant memories. 1 often please myself by fixing 
my mind upon them, without suffering it to dwell upon 
the intermediate times, when so few remain of those 
who enjoyed with me that ami other eveuin^s as full of 
wit as mirth, and all that gives a zest and a relish to 
the realities of life. 

44 Where nre they all now? Of the five literary ladles 
who were present on that evening only two survive 
(Miss Edgeworth and Mrs. S. C. Hall). The other three 
died prematurely in foreign lands — MissLandon in 
Africa, Miss Jewsbury in India, and Miss Roberts in 
India too. Miss Jewsbury’s fate was, it is said, not 
much happier than poor Miss Landon’s. Be that as it 
may, there was no one to tell the tale to those who 
loved them in their native England. ‘ They died Bnd 
made no sign.’ Miss Landon’s existence was replete 
with performance. Miss Jewsbury’s was certain to 
bring forth a late, but abundant, fruitage. Her mind 
was a treasure-house of things as rich as rare. But 
now all is over for time in this world. The heather 
blooms upon the grave of the Kttrick Shepherd ; Wal- 
lace, the amiable and kind barrister, whom all men 
loved, and, though he could hardly be called 4 literary,’ 
was so much with literary persons as to be *o called, lie is 
dead, and would, perhaps, have slept beneath a nameless 
grave, but for the generosity, as deep as it is true, of his 
friend Macready, who erected a monument to him at his 
own expense. John Banim also was there ; poor Banim 1 
his accent was as savoury of the lrislwas. Hogg’s of the 
Scotch; and when lie lighted up he could be as 
racy as the best of them, and as original. He is 
gathered to bis fathers in his own land. Wilkie 
found a grave amid the billows of tbe ocean— Michael 
Thomas Sadler died a linert*naufacturer at Belfast; 
others have passed away, crowding the graves with 
their honoured remains. But a few days ago Allan 
himself was amongst us ; at his post during the day 
to fulfil Chantrey’s wishes, and at night poring over 
his last great work. No man was ever more just or 
more unflinching than the poet Cunningham. He 
was a brave nnd sincere Conservative, firm to Church 
and .State. Sir Robert Peel proved his respect for 
the man by providing for one of his sons. But, 
though Allan Cunningham was proud and grateful 
for such a distinction, he craved no favours— hk 
work un— and must have died with the comfort that 
his family were what the world oils 44 settled” by the 
fruits of his honourable industry. I have often heard 
it said UfTt|/17\|rdd goo l friends; and so lie had. be- 
ItfalkeJiii-coiiiiuaud^J^respec; ; nor would Allan have 



278 


THE ART-UNION 


admitted any person to bis house whom he did not 
think entitled to this distinction. It is difficult to 
portray any human being; more perfect in all the rela- 
tions of private life than Allan Cunningham ; as a hus- 
band, a father, a friend, he was perfection; and, {treat 
as is bis loss to the republic of letters, it is as nought 
when compared to what his family and friends must 
suffer. Some of his fugitive poems are unrivalled for 
purity of composition ; they are delicate and exquisite 
m their delineations, and at the same time healthy and 
vigorous. His * Lives/ 1 think, will increase in value. 
1 should like to see a collected edition of his works ; 
but whether such a publication would succeed during 
the present depression is uncertain. 

“ Another link of the chain is broken, another of our 
great ones passed into eternity, the eternity we all hope 
for. I shall long miss his cheerful voice, and the pres- 
sure of his friendly hand ; for he was indeed, for truth, 
talent, and uprightness, one amongst a thousand. 
Hr loved Nature !” 

WILLIAM BROMLEY, A.R.A. 

On the 22nd of October, died this distinguished 
engraver — one of the associate engravers of the 
Royal Academy, and member of the Academy of 
St. Luke, Rome. He was in the 74th year of his 
age, having been born in the year 1769, at Carris- 
broke, in the Isle of Wight. His apprenticehip 
was served to a person of the name of Wooding. 
For upwards of half a century Mr. Bromley has 
occupied a very prominent station in his profession ; 
and the world will not cease to hold in high esteem 
the productions of his burin. Of late years, the 
public has seen but few of his works ; although 
he was still pursuing his course honourably and 
profitably; but his recent engravings have been 
executed for the British Museum ; and these find 
their way only into the folios of “ collectors. ” 
They consist of copies of the Elgin Marbles, from 
the admirable drawings of H. Corbould, Esq. ; 
and are as masterly in style and character as aught 
that proceeded from the graver of Bromley in nis 
younger and more vigorous days. 

His works best known and most popular are the 
plates for “ Macklin’s Bible,” and for the “ History 
of England,” after Stothard; the ‘ Duke of Wel- 
lington/ as he appeared on the day of public 
thanksgiving at St. Paul's Cathedral, after Sir T. 
Lawrence ; the 1 Countess Lieven,' from a draw- 
ing by the same great master ; ‘ Young Napoleon/ 
by do. ; the portrait of * Dr. Abernethy/ by do. ; 

‘ the Woman taken in Adultery,' after Rubens ; 
the ‘ Duke of Wellington on Horseback,’ after Sir 
T. Lawrence, &c. &c. &c. His fame was great 
not only among the members of his own profession, 
the painters universally appreciated his abilities, 
and coveted to have their works engraved by his 
hands. Sir Thomas Lawrence used to say, that 
“ his engraving was like painting and Fiaxman 
and Fuseli were fervent admirers of his talents. 
He was a kind and indulgent parent, of a generous 
good heart, and modest — like all great men. He 
has died respected and beloved by all who knew 
him. 

His son, whom he survived, was also an eminent 
engraver ; and his grandson is daily rising into high 
repute. 

KIRKMAN FINLAY, ESQ. 

We have heard that it is the intention of the 
citizens of Glasgow to erect a statue to the memory 
of the late Mr. Kirkman Finlay ; and that a libe- 
ral subscription for the purpose is already consi- 
derably advanced. 

The late Kirkman Finlay was no ordinary man. 
In early life he embraced the profession of a mer- 
chant in Glasgow, his native city ; and during the 
war distinguished himself by directing the com- 
( merce of his country into the channels most likely 
to defeat the machinations of her adversaries. At 
I a later period he exerted himself in throwing 
, open the trade with the Briti>h possessions in the 
East Indies, and himself embarked, w ith his usual 
1 zeal, intelligence, and success, in this branch of 
■ commerce. If we are not mistaken, the citizens of 
1 Glasgow were also deeply indebted to him for the 
zeal and alacrity with which he devoted his time 
! and attention to the duties of the local magis- 
1 tracy ; to those of an officer of volunteers and 
local militia during the war; and latterly as the 
| representative in Parliament of the extensive and 
i complicated interests of the great trading empo- 
| rium of the west of Scotland. Mr. Finlay was a 
1 man of great natural shu wdness, and of a culti- 
| vated and intelligent mind. In society his man- 
ners were cheerful and vivacious, whilst in the 
1 relations of private life he was a pattern of excel- 
lence and virtue. During the time that he sat in 


Parliament there was no man more respected in 
the House of Commons, or listened to with more 
attention on the subjects on which he addressed 
the house. We need scarcely add, that we cor- 
dially participate in the feelings which induce the 
inhabitants of Glasgow to desire to do honour to 
the memory of their distinguished fellow- citizen; 
and we trust we may be permitted to express the 
hope, that his monument may prove at once ho- 
nourable to his memory, creditable to the taste 
and liberality of the subscribers, and afford a 
specimen of the best and highest style of British 
Art. We have heard that the testimonial pointed 
at is a full-length marble statue. In many re- 
spects this is unexceptionable, as combining the ad- 
vantages of more moderate expenditure, and as 
affording a material in which the skill of the artist 
is shown to full advantage and effect. In a marble 
statue, however, in our northern climate, the work 
can only occasionally meet the public eye, for it 
must be placed within a hall or church, both of 
these situations being only at times accessible ; and 
in which the mind of the spectator is apt to be other- 
wise preoccupied and employed, than in observing 
the beauties of a work of Art, or meditating upon 
its intents and purposes. 

It occurs to us that a bronze statue, well situated, 
would be both an appropriate and desirable style of 
monument in the present instance. In George’s- 
square the citizens of Glasgow already possess, in 
the statue of Sir John Moore, an heroic figure of a 
townsman whose deeds have placed his name in 
the historical annals of his country. In the same 
locality they have marked their appreciation of 
scientific eminence by the erection of the statue 
of the illustrious Watt. Why not fill up the vacant 
space on the south-east corner of the square by a 
bronze statue of the great citizen and merchant 
whom they are now desirous to honour ? 

The citizens of Glasgow are liberal in their sub- 
scriptions and donations for educational purposes. 
Could the youth of a great and exclusively com- 
mercial town have a nobler incentive to their ex- 
ertions presented to their every-day observation 
than the likeness of a fellow-citizen, the architect 
of his own fortune, and devoted through life to 
the same pursuits and line of exertion to which 
they may be destined, in the shape and form 
usually appropriated to 44 the peers and princes of 
the land ?’ We trust that no feeling of misplaced 
economy may interfere to mar so desirable a re- 
sult ; and that the subscription in question may be 
on such a scale as to place a bronze statue of the 
great merchant in juxtaposition with those which 
Glasgow already boasts of— Wellington, Moore, 
Pitt, Watt, and Scott; thus affording to the youth 
of the west of Scotland a stimulus to exertion in 
their own walk in life, and an additional specimen 
of Art within their own city calculated to pro- 
mote the refinement of their taste and manners. 

We believe that there are two capital full-length 
portraits of Mr. Finlay by Graham, and an ex- 
cellent likeness of him by Raeburn, at an earlier 
period of life, affording admirable materials for the 
composition of a statue. W T e do not know that 
any bust of Mr. Finlay was ever executed ; but it 
is possible that such may be the case. 

One word in respect to the selection of an artist, 
and we have done. Our readers are aware that 
the citizens of Glasgow have, in our opinion, com- 
mitted an outrage on good taste and good feeling 
in, at the present day, selecting an inferior foreign 
artist to execute their statue of the Duke of Wel- 
lington. Let us hope that the hour has arrived 
in which, if they have not become sensible of their 
error, they may not be disposed to carry their 
patronage of foreign Art the length of downright 
persecution of the many talented and accomplished 
artists, and worthy and estimable men, to be found 
in the list of British sculptors ; and that anything 
so monstrous as the erection of a second French 
statue within the walls of Glasgow may not be at- 
tempted. 

JOHN HARPEK, ESQ. 

The Arts in general, and particularly tho>e of 
York, have sustained an irreparable loss in the 
death of John Harper, Esq., architect, of that 
city, and Honorary Secretary of the Government 
Branch School of Design there, and to whom it is 
deeply indebted for his active co-operation. He 
died at Naples, on the 18th of October, having 
caught the malaria fever in Rome, from which he 
had partially recovered, when a relapse, brought 
on by a rough sea voyage from Civita Vecchia to 


[Dec., 

Naples, put a period to his important life in his 
31tn year, after making numerous drawings in 
different parts of Italy, ike. Active, zealous, and 
enterprising beyond his physical strength, he sank 
under an enthusiasm for Art, which, had he been 
spared, would have accomplished much for its 
interests. As an architect his talent has left se- 
veral beautiful works in Yorkshire and Lanca- 
shire. As an artist and a draughtsman he was 
not excelled by any ; but his native modesty kept 
in his folio, works which, as drawings, would have 
done honour to the best, and which, for taste, 
light, facile and elegant execution, as well as 
correct detail, are worthy to take the first rank 
as works of picturesque beauty. His numerous 
friends have to lament the loss of one who added 
to his brilliant and varied talents the most 
amiable, generous, and benevolent feelings of the 
heart, and who bade fair to be a lasting ornament 
of his country. 

MR. J. B. CROME. 

This excellent artist and estimable man died 
during the month— after a long and lingering illness 
— at great Yarmouth, Norfolk. He is well known 
by his 4 Moonlight Views/ in which no artist sur- 
passed him. \Ve hojie, next month, to procure 
for our readers some particulars of his life. 

[We again beg to express a hope that corre- 
spondents will supply us with the means of ren- 
dering this department of our journal more com- 
plete than we have hitherto been enabled to make 
it. It is a department which, unaided, we cannot 
fill; and we really think that the relativt’9 of de- 
parted men of genius owe it to their memories not 
to let them descend into the grave without some 
worthy tribute. The foreign journals supply us 
amply with biographies of their leading artists; 
but of those of our own country we find it ex- 
ceedingly difficult to obtain any particulars.] 

ART IN CONTINENTAL STATES. 

ITALY.— Bologna.— Pinacoteca, Sec., by Sig. 
G. Giordani. Bologna , 1842. — The Director 
of the Pinacoteca , or Gallery of Bologna, has 
just now published anew “ Catalogue Raisonnf* 
of that classical aud numerous collection of pic- 
tures. The learned director, Signor Giordani, 
author of many remarkable works on the Fine 
Arts, shows in the new catalogue his usual skill, 
exactness, and erudite criticism. 

Life qf Domenico Zampieri, called Domeni- 
chino , by A. Roncagli. Bologna, 1842. — The life 
of the great Bolognese master, who painted the 
St. Jerome, a picture deserving the honour to be 
placed in the Vatican, opposite to the ‘ Transfigura- 
tion,’ is just now published with great care, ele- 
gance, and detail. The Life of Domenichino, one 
of the best pupils of the Caracci school, and 
then the immortally tremendous rival of them, and 
of his companions Guido, Albano, Tiarini, Lan- 
franco, Leonello Spada, Guercino, &c. 8cc., pre- 
sents a quantity of facts of the greatest importance. 
Concluding with the horrible conspiracy against 
him by Spagnoletto, Lanfranco, Stanzione, &c. 
Ac., and his lamentable fate, are all things of deep 
interest, and beautifully told by Signor Roncagli. 

FRANCE. — Pa r i s. — II 'arks in Progress. — The 
spirit of improving and adorning public buildings 
is a striking element of the course of things in 
Paris at the present moment, and of these orna- 
ments and alterations the churches reckon for a 
large proportion devoted to them. The cold stone 
gives place to living walls of fresco or oil painting, 
while statues, bronzes, mosaics, wood carvings, 
and other decorations attest the lavish spirit of the 
epoch. We shall name a few of the works just 
completed, or now in progress. 

M. Heim, with a firm, laborious, and practised 
hand, has just finished at Saint Sulpice the chapel 
devoted to the Souls in Purgatory. This great 
work has only occupied two years. In the same 
church M. Drolling is at work in another chapel, 
the painting of which he began in 1831, and it is 
not yet finished. 

The chapel of the Virgin at St. Gervais, com- 
pleted by M. Delorme, offers a curious union of 
painting, in the style of our epoch, with Gothic 
architecture; at Saint Merry, M. Amaury Duval 
lias divided the 4 Life of Saint Philomena’ into 
three parts — 4 Prison,' 4 Martyrdom/ and 4 Beati- 
tude.’ These pictures are all in the most elevated 
style and purest design, and they breathe the 


1842 .] 


THE ART-UNION 


simple and reverential piety that charms us in the 
old masters. M. Chasserien is to execute, in the 
same church, and probably in the same style, the 
* Egyptian Saiut Mary.' At Saint Deuis-du-Saint- 
Sacrament, M. Duscaisne has expressed on can- 
vas the words of our Saviour, * Suffer little 
children to come unto me.' The subject is treated 
in an interesting manner, and shows progress in 
the artist, as does also the charming landscape 
with which M. Aligny has enriched the church of 
Saint Paul. M. Jollivet has completed the paint- 
ings on glass and the historical compositions 
which adorn the chapel of Saint Louis- en-l’lsle, 
devoting his various talents to the same object. 
He was well assisted in the first part by M. Vigni. 
Pictures have been ordered during the last two 
months as follows : — At Saint Laurent, by AL 
Bremond ; at Saint Ambroise, by M. Jouy; at 
Saint Medard, by M. Ludlin; at .St. Pierre de 
Chaillot, by M. Janren; at Saint Merry, by M. 
Lehman. It would be easy to add to the list, but 
it is unnecessary. 

We rejoice that the ancient sanctuary of Saint 
Germain des Pres is about to be restored by M. 
Flandrin to all its ancient splendour ns it was, 
when it was the receptacle of the gifts of Kings and 
of the pious. We shall see it again with its painted 
ceilings, stained glass windows, statues, pictures, 
and all the rich adornments that before graced this 
famed old Basilica. 

The old art of glass-staining seems revived in 
our days. In point of colour the beautiful works 
just finished by Al. Thevenot at Saint Kustacbe, 
and by Messieurs Yignie and August Hesse at 
Saint Pierre Caillot, are not inferior to the stained 
glass of Notre Dame de Paris, nor as compositions 
to the famed windows of St. Florentin, in Bur- 
gundy ; or Saint Gudula, at Brussels. M. Mare- 
chal’s works iu this style are also of very high 
merit. 

Statuary seems consecrated to religion at pre- 
sent, or to the memory of great men. * Saint Louis 
j and Philip Augustus,’ from the chisels of Messrs. 
Eten and Dumon, will be placed on the two columns 
at the Barriere du Trdne. Four colossal ‘ Genii’ 
at their feet are committed to the talents of 
Messieurs Desboeufs and Simart. Why, when 
M. Seurre, sen., has finished other works, are 
we still to wait for his statue of Moliere ? Perhaps 
the artist requires long reflection before he tries to 
create the statue of one whose own mind was so 
creative as Moliere’s. 

Gallery Aguado. — Many have been the rumours 
regarding the fate of this fine collection of paintings, 

| peculiarly rich in those of the Spanish school. We 
believe it is certainly to be sold, but that it is to 
be sold, and intact, to the Emperor of Russia is 
not decided. 

Chapelle de Noire Dame dea Flammea.— On the 
i 16th of November took place the ceremony of the 
j consecration of a new chapel erected at Bellevue, 
on the spot of the terrible accident which occurred 
I there on the railroad on the 8th of May. 
i The chapel is charming and original ; it is tri- 
| angular, having in the exterior part some columns 
also triangular. On the door of the front facade 
is placed this inscription, paix aux victimes du 
VIII MAI. 

Within is an altar, and a statue of the Virgin 
l having as a base a flaming globe on which is en- 
j graved aux victimes du viii mai, 1842. 

T'lie Bishop of Versailles, with many clergymen, 
i officiated, and made a very simple but touchant 
i sermon. The families of the victims, with their 
friends, were present at the ceremony. 

! Strasburg. — Luther. — M. David. — The bas- 

relief on the base of Guttenberg’s statue here has 
I been kept covered ever since the day of its inau- 
guration, the “ ultra- Catholics" of the town ob- 
i jeering to Luther being represented on it. In 
| deference to their wishes, M. David has removed 
the bas-relief containing the figures of Luther and 
I Bossuet, and has substituted for them Erasmus 
and Montesquieu. 

I GERMANY. — Leipsic. — Meeting of Archi - 

tecta. — We merely named in our last that this 
interesting meeting had taken place. The days 
j occupied by it were the 10th, 11th, and 12th of 
September. Among many important subjects dis- 
I cussed, none appear to have excited more interest 
than the discourse of Herr Thier on the forms and 
style of architecture best adapted for Protestant 
churches, presenting at the same time to the 


meeting five large plans for a church to be erected 
at Berlin. 

He began by observing on the Protestant ser- 
vice, that the sermon being a prominent part of it, 
the position of the preacher and the number of 
persons who should hear him distinctly became 
the first consideration. The form most adapted 
for this is the half circle of the Greek theatres ; 
but to weigh against its advantages is the conse- 
cration which time and other circumstances have 
given to other forms, and which, in regard to sa- 
cred edifices, cannot be safely disregarded. We 
cannot follow his long and interesting discourse on 
the various part* of the church. At the conclu- 
sion it appeared that much similarity to the an- 
cient Basilica might be safely preserved, modifying 
the form, especially by enlarging the square in the 
middle of the cross. Herr Thier very strongly 
advocates a covered atrium as the proper entrance 
to a church to be devoted to the monuments of 
distinguished persons, a suitable preparation for 
the temple within, forming a scale, as it were, for 
the mind not to pass abruptly from the bustle of 
life without into the sacred precincts within. Be- 
yond the atrium be would have as an approach a 
piece of ground adorned with trees and fountains. 

Herr von Quast made an impressive appeal on 
the subject of ancient German architecture, con- 
gratulating the meeting on the zeal with which 
this branch of Art was pursued in many places 
both in the preservation and restoration of old 
buildings, and in the study given to the subject, 
and calling on those districts where this spirit was 
not excited to arouse themselves and do likewise. 

BAVARIA. — Donaustauf, near Ratisbon. 
— The Wal hallo. —Our readers are aware of the 
intention of this building. It is a temple to con- 
tain the busts of the great men of Germany, in 
whatever career they may have distinguished them- 
selves. King Louis of Bavaria is its founder, and 
he has himself written a book describing it. The 
first name commemorated is that of Arminiua ; 
and the illustrious list is brought down to our own 
times. To give an idea of the selection of King 
Louis, we add the following names of personages 
admitted, nearly belonging to our own day : — 
Mozart, the Duke of Brunswick, Burger, Cathn- 
rine the Second of Russia, Klopstock, Heinse, 
Herder, Kant, Schiller, Haydn, Wieland, Mar- 
shal Scharrnhorn, John Von Muller, Barclay de 
Tolly, Blucher, Swurtzenberg, Hcrschel, Die- 
bitsch, Stein, Gneisenau, Goethe. 

Oct. 18th, being the 12th anniversary since the 
foundation-stone of the German Temple of Glory 
was laid by King Louis, was fixed on for the 
solemn opening of the completed building, which 
is placed on a hill near the little town of Donaus- 
tauf, on the banks of the Danube. Crowds of 
persons had been arriving in the neighbourhood 
for some time previous, so that the assemblage on 
the spot was very great, and an immense num- 
ber had accompanied the King from Munich. 
The day was cloudy in the early part, but about 
midday the sun shone forth with great splendour. 
The principal attraction was the procession, of 
which the Bavarian royal family formed a part, as 
it moved from Ratisbon to Donaustauf, where it 
was received by the magistrates and clergy of that 
place ; from thence it proceeded to the foot of the 
hill on which the Walhalla is situated. Here the 
King was received by thirty-two young ladies 
dressed in white, their hair flowing, and each 
bearing in her right hand a flag. These ladies 
typified the thirty-two united states of Germany ; 
and at their head a tall female, with fair hair, a 
purple robe, and crown of gold, represented Ger- 
mania. They lowered their flags as the King 
passed on to the portico of the temple, where the 
President, Zu Rhein, awaited him, and addressed 
a speech, thanking aim, in the name of the German 
nations, for the erection of the Walhalla. The 
King replied in these words : “ May the Walhalla 
extend and strengthen the sentiment of German 
nationality. May every German of every different 
race here present feel that 1:* has, in common with 
all, a fatherland to be proud of. Let him seek to 
make it honoured." After uttering these words 
the King took the golden keys and threw open the 
bronze portals of the Walhalla, and the interior, 
bright with colours, brass, and marble, met the 
eye, while the singers of the choir poured forth 
the most inspiring strains. We need not say that 
the temple, with its dark marble walls and floor, „ 
its metal rafters, its glorious lines of busts of fhe 



great and good for the first time opened toltfla 
public gaze, excited the most lively interest. The 
King soon called to him its architect, the PAyjf 
Councillor Von Kleuze. The illumination of 
temple in the evening presented another mag- „ 
nificent spectacle. 

Kelheim. — Hall of Freedom . — The King of 
Bavaria laid the foundation-stone of the Hall of 
Freedom, commemorative of the German war of 
independence. The King made a short address, of 
which the last words were, “ Combined Germany 
can never be vanquished.” The building is to be 
circular, with a cupola in the Byzantine style. 


GERMAN COMPLIMENTS TO BRITISH 
ART. 

We perform our promise by printing a transla- 
tion of the strictures of Dr. Henry Merz on our 
British School of Painting. The following is his 
criticism upon the collection of 1842, gathered in 
Suffolk-street, which he considers less reprehen- 
sible than that exhibited at the Royal Academy. 
So much for the honesty or judgment of the 
“ critic. *’ 

The exhibition of the Society of British Artists 
(Suffolk-street, Pall-Mall East), is open simultaneously 
with that of the Royal Academy, but it is by no means 
so much frequented as the latter, although the entrance 
money is the same : its merits, however, demand com- 
paratively a higher decree of consideration. The defects 
of which we have already spoken are again sufficiently 
apparent in the pictures of this Society, but yet their 
extreme faultiness is not without some redemption. 
The works of this exhibition do not certainly amount in 
number to 1409, as those of the Academy : there are no 
more than 804, and this deficiency alone appears to be 
the cause of the lower estimation in which those of the 
Academy are held, since it is notoriously the desire of the 
public of London and of England to see as m uch as pos- 
sible for their money. Of the 423 names in the catalogue 
of this exhibition, there are about a hundred also in that 
of the Royal Academy ; and 36 of the 423 are those of 
ladies. In the whole as above mentioned the number 
of contributions is 804, being 21 sculptural subjects, 
principally portraiture, and 783 pictuies, of which 547 
are iu oil and 236 in water colours; 64 of these being 
the works of female artists. Among the works in oil 
are about 45 portraits, and in water-colour about 42, 
making 87 portraits in the exhibition. U pwards of 200 
pictures were rejected in consequence of want of room. 
Thus we see that to England, wealthy in gold and ma- 
nufactures, artists and works of Art are not wanting— 
it is only to tie lamented that their works of Art should 
look like manufacture and machine work. 

With respect to historical Art, the pulse of every ex- 
hibition, that department is not much better here than 
in the neighbouring institution of Trafalgar- square. 
To begin with Corbould’s ‘ Delilah and Samson’— this 
unfortunate picture is in nowise calculated to afford a 
favourable augury. Delilah, having the lower part of 
the person covered, lies luxuriously, out not very seduc- 
tively, upon a cushion : the light enters from behind, 
a circumstance which the artist has thought proper to 
bring forward by a chiaroscuro of the dirtiest and 
most opaque character. Samson, a little, dark, half- 
shaven cannibal, “ /urchtbar groteak bia xum tocher - 
lichen” — literatim in German as in English— “fear- 
fully grotesque even to the ridiculous” stands on the left, 
bound, and vainly striving to tear asunder his bonds, 
while the Philistines are coming upon him. J. Zeitter, 
a German, it seems has, in No. 112, attempted the scene 
with theCapuchiu in Wallenstein's camp; but the com- 
position is Yxgue. The Capuchin, a long, gaunt figure, is 
interested without intelligence, ergo , without character; 
and the soldiers stand listlessly around, without ex- 
pression either of pleasure or vexation. The colouring 
is motley, the drawing feeble, the execution superficial, 
and the whole a failure. No. 397, 4 The Good Sama- 
ritan, ’ byC. B. Morris, is nearly of the same standard. 
No. 401, ‘The Departure of the Countess of Derby 
from Martindale Castle,’ by Herring, sen.; No. 407, 

* Chryses, the Priest of Apollo, petitioning the ven- 
geance of the God,’ by J. Wilson; and No. 417, ‘ A 
Scene from Guy Mannering,’ Meg Merrilies in the 
cave with a torch in her hand betraying Dirk Hatte- 
rick, by J. Tennant, are distinguished by a straining 
for striking effects of light. Nos. 228 and 315, by J. A. 
Hawkes and J. S. Spencer, both versions of Juliet and 
Friar Lawrence, are instances of rapidity of work and 
abuse of oolour \ but above oil does the eld ’r Herring 
strive for the dismal in No. 521, ‘ A Naked Mazep;>a 
bound upon a Wild Horse,’ and in Nos. 4 and 16 Lis 
two pictures of ‘ Duncan’s Horses,’ which are destitute 
of animated impulse and action; despite the comet- 
like tails, flowing manes, and the headlong career 
which distinguish the animals in Nos. 521 and 4; in 
the former case over the waste, and in the latter be- 
neath the arched gateway amid lightning and thunder; 
and in No. 16 furiously bounding onward in danger of 
mutual injury— despite all this, and in addition 
all hectoring in fire and smoke, the freshness of 
life is" wanting. Thus we learn from this exhi- 
bition that English Art, in the highest sphere 1 
of its activity, adheres to the insignificant, or, 



280 


THE ART-UNION 


[Dec., 


where it would oepire to something l)eyond this, is lost 
m the hideous or the fantastic, being unable to deter- 
mine the point whereat the ideal meets substance and 
form. The department of religious painting is not less 
deficient in intensity nnd substance : the conception 
of those who exhibit in this style runs into empty sen- 
timentality. With respect to their poverty of spirit 
and thought, it is sufficient to observe, that the ma- 
terials of the Royal Academy are here repeated similar 
in manner to those of the latter exhibition, as instance 
the agreeably * Coquetting Magdalen3*— Nos. 65, by G. 
J. Healey; 183, by H. L. Keens ; and 288, by R. Jef- 
frey. E. Latilla alone contributes nine pictures, and in 
No. 90 has painted the Virgin with the little St. John 
in an encaustic resembling fresco, invented by him- 
self. The picture itself is of no value, and we may 
doubt the worth of the discovery, which possesses 
neither the forcible freshness of fresco, nor the tender- 
ness of encaustic. 

In this exhibition we find also the peculiar senti- 
mentalism of the English school, in No. 129, 4 Sterne’s 
Poor Maria,* by F. Stacpoole ; No. 63, ‘ Forsaken 
Innocence* (a coquettish young lady with a sheaf 
or gleanings in her apron), by H. Room ; No. 77, • The 
Rose of York,* by J. J. Hill; and No. 432, ‘ The Rose 
of Lancaster ;» No. 12, 4 My Dear Little Brother,’ by 
F. G. Hurlstone; No. 536, ‘ Sister, dear little Sister,* 
by A. Egg ; No. 290, 4 A Girl Feeding her young Bird,’ 
by G. Stevens: and No. 302, ‘ The Poor Orphan’s 
Friend,* by H. E. Dawe. 

The execution in genre is of a happier character; 
we mention No. 45, ‘A Falconer,* admirably drawn 
and painted by T. M. Joy; No. 83, ‘A Sclavonian 
Waggon on the road to Presburg,* by J. Zeitter 
--better than the other Hungarian scenes exhibited 
by him; No. 163, ‘A Begging Monk,’ by J. H. 
Carle ; and * Old Forester,* by J. Tennant, No. 187— he 
is reading a newspaper at an open window, with a glass 
of beer near him, and his fowling-piece supported by 
the chair. Nos. 259 and 271, 4 A Passage in the Life of 
a Man,* are two small pictures, by E. Prentis, distin- 
guished by an admirable execution and great humour. 
In No. 1 he is going out ; the clock shows the time to 
be a quarter- past five, and a small circular on the wall 
informs us that at half-past five precisely he must 
assist at an annual festive meeting. There stands the 
somewhat corpulent man in a blue coat, dark trou- 
sers, polished boots, and with a ruddy countenance; 
liia carefully. brushed hat upon his head, a rose in his 
button-hole, a gold-headed cane under his arm, and 
wristbands drawn over his bright gloves. His wife 
with her right hand cautions him to return home early, 
and with her left gives him the key. In the back- 
ground is seen the household tiger and other acces- 
sories. In No. 2 he is returning at half-past four, as 
shown by the clock, with blinking eyes and a hazy 
countenance; his hat significantly awry on hia head, 
the rose crushed, his coat in disorder, and his cane 
borne in the left hand ; and thus does he peer with an ex- 
pression, half doubtful, half cunning, within, at his wife, 
who sits immoveably by the fire-side, with a book and 
a dying taper before her, nursing her wrath, in pre- 
paration of a warm greeting for him. These two hu- 
morous pictures are equal to Hogarth, and worth the 
entire collection. No. 527, * The Consolation,’ by the 
same artist, is an equally admirable production, in 
this work a mother, yet young, sits at her work-table, 
somewhat stiffly however, while her child reads from 
the Bible a chapter of consolation, and the clock be- 
hind her ticks its measured seconds. It is painted 
with feeling and skill, well composed, and carefully 
executed. No. 520, ‘ The Farewell,’ by T. Clater, may 
also be accounted one of the belter works, the subject 
of which is a soldier taking leave of his wife, child, and 
lather. Also No. 304, by A. Egg, 4 A Maiden &t the 
Festival of the Madonna dei Fiori. 

In this exhibition landscapes are most numerous : 
of 547 works in oil, 265 are landscapes, being for the 
most part views. The compositions are few and un- 
important, for English painters venture as little upon 
free composition as they do upon the grander style 
of history. The excellence of this depends not on 
extent of surface, it cannot be estimated by the 
rod, by the square foot, for the master is sufficiently 
evident even within a narrow limit, although his power- 
ful genius craves a more free and extensive field to 
give suitable expression to his teeming ideas. In all 
the small pictures of this class there is no real earnest- 
ness or just impulse: money and amusement are de- 
claredly the objects which stimulate the pencil. Among 
the better works we may mention No. 57, 4 The Sands 
at Lancaster,’ by D. Cox; No. 159, * Sunday Morning 
—Returning from Church,* by H. J. Boddington ; 
No. 173. ‘The Ploughman’s Dinner,’ bv W. Sbayer; No. 


Shore at Ostrnd;’ and in Nos. 167, 214, and 512, J. 
Tennant has shown much ability. C. J. Tomkins ex- 
hibits many views, but they are deficient in warmth 
an t life, as instance No. 264, 4 Ehrenbieitstein* ; No. 
513, ‘ Boppnrt ;* No. 372, * Namur;* No. 351, 4 Liege.’ 
In No. 24, 1 . (J. llofiand has painted with much pro- 
priety the town of Salerno ; ahy No. 373, 4 The Vale of 
Llangollen;’ and in No. 406, 4 U lies water in Cumber- 
land In Nos. 70 and ICO, A. T. Wonlmer strives after 
cilect in the timmier oi Salvator Rosa. \Y. Allen is 


jnost prolific : he alone contributes 19 small pictures— them. Perhaps, after all, he is like many others, who 
English scenes, for the most part a great proportion will not permitany persons to abusetheirfriendsbut 
* n - r V 1 * £ r ‘ a 1 1 V 1 ® county of themselves ; and now that the Germans have taken 

pictures are S ‘^3 ^ ^”*1 

keeping. 3 who knows but Mr. Hay don himself may be found 

Few artists profess still-life, flower, and animal armed to the teeth— standing in the breach, 

painting; the works of these classes that are exhibited That the “Royal Academy” as a body have not 

x£ e *£ arce, y worth mentioning; the best is No. 76, by done all that they might have done — or, indeed, 

EnHfeh y ?rt- ♦w^f turno ^ ^° W i fr0 °? P f*S a 1 !? tbat they should have done — few will attempt 
English Art there is a universal want of study and j_ n _ . i,„ f ___ tlt, 

technicality, a spiritless carelessness, never admitting V* * .*5? °5 e ” ette r than Mr. Hay- 

of persevering research and earnest execution. There don, that in this institution are the best of our 
is an obtuse, unpoetical intelligence, which cannot ap- British painters. He is justly and naturally in - 
prebend the momentum of things inconsiderable m dignant at the wholesale condemnation of the 
themselves, nor describe the imperishable life of inani- German critic. We have introduced these obser- 
mate objects; such inefficiency renders the pencil of vations rhieflv with a view to eonv Mr Havdon’a 

partmen* rtlSt * *° ,he cuUiv * tion ° f tb “ ^ letter imo oS? columns We ^on him for hu 

Among the few architectural pieces we find No. 130, egotism because of the bold manner in which he 
‘ St. Edmund’s Chapel in Westminster,* by C. Hassell ; has come to the rescue, 
an^the 4 Temple ofVesU at Rome,* No. 257. by J. G. ,. T0 THE EDITOR op THE < 9PRCTATOR .> 

Of the portraits we cannot speak very favourably. u Q T _ “ London, 8th November/ 1842. 

Jo. 418 is the only one marked by individuality ; it is “Sir, -L ast Saturday you quoted from the German 

•Y J. Bradley, and is the portrait of a farmer upwards P^odica 1 on Art a remark from a Dr. Mere, on the 
f 100 years of age. exhibition last year. 4 that there was not a work in it 


.iuuiuiiu a vsmuvi l&l Tf VOUUliniCI. U J VS* U099C1I I 

and the 4 Temple of vesta at Rome,* No. 257, by J. G. 
Strutt. 

Of the portraits we cannot speak very favourably. 
No. 418 is the only one marked by individuality ; it is 
by J. Bradley, and is the portrait of a farmer upwards 
of 100 years of age. 


of 100 years of age. 

We have yet something to say on the subject of the 
works in water-colour. The under-mentioned artists 
exhibit in this style (of the greater number of them we 
have already had occasion to speak):— Allen, Stewart, 
Zeitter, Turner, Lancaster, Tennant. Bell, Morris, 
Marshall, Holland, Woolmer, Boddington, Dawe, 
Shayer, Pyne, Hurlstone, Jeffrey. Herring, Wilson, 
Smith, Bradley, &c. ; and we may instance, as works of 
merit, No. 556, by Allen; No. 581, 4 Mayence,’ ‘by 
Tomkins; No. 597, byJ. Wilson; No. 609, by Ten- 
nant ; Nos. 621 and 612, by Boddington ; ana No. 627, 
by Holland. Women have naturally devoted them- 
selves most to this branch of Art, the practice of which 
is consistent with the general faultiness of English Art. 
The working is decidedly easier, and a showy picture 
may be produced with less study than by the means of 
the more tenacious oil, for practice in which the Eng- 
lish seem to be deficient in patience. This superficial 

monnAi* vKiaL 1m a., a * 


by the gentlemen of the Academy that the meanest 
pupil of the Dusseldorf school could not excel.* 

“Come, this is pretty well for a beginning, Dr. Kug- 
ler and Dr. Mere (who is he?) ; this is throwing down 
the glove with a vengeance. We accept the challenge, 
and in answer, have the inexpressible pleasure, which 
we have long wished for, of hurling away the scabbard. 

44 The public will grant, I am quite sure, and many 
Germans in England too, that this was not the way I 
treated Cornelius and the German school at the Royal 
Institution ; bnt, as in return for my courtesy to them, 
I and my 4 Mary Queen of Scots* and 4 Poictiers* come 
in for a share of the scurrility, I hope your readers will 
not attribute my taking up the question to a vain desire 
to obtrude myself, when I have so many more agreeable 
things in hand to accomplish at present. 

44 In the first place, I will defy the most able pupil of 
the Dusseldorf school, or any school in Germany, to 


manner, which in oil-paintings amounts tooutrage-the *3 “®! or a PP r u oach a / Head of an Old Gentleman,* bv 
rapidity which has so disgracefully abused oil-colour, Phillips, which hung between the two Dogs’ of Land- 
has found here a more fitting field. From mature con- f eer ’, and which for «>loar, half-tint, touch, tone. 


nas roiina nere a more fitting field. From mature con- 
sideration we learn that oil-painting is pursued here 
rather as a luxury and an amusement than for its own 
sake. Water-colour is more favoured by omnipotent 
wealth, which lavishes upon a leaf of its travelling album 
pounds, weeks, and months. We cannot hope for any 
favourable development of Art from works so insuffi- 
cient, which can by no means raise the English school 
above the low standard of West, Reynolds, Williams, 


seer, and which for colour, half-tint, touch, tone, 
breadth, nature, sound art, draw ing, and character, was 
never excelled since Reynolds. But what is in a head ? 
What is in a head !— everything. A perfectly-formed 
human head is worthy to be the image of its Maker. 
I grant that neither in that, my own 4 Poictiers,* or 
4 Alary Queen of Scots,’ or Landseer’s 4 Dogs,* there was 
what the Germans call drawing— and God forbid there 
should be : the parts in neither were connected by the 


nnd Constable, which hasonly been temporarily passed baby-feebleness of an outline, the leading-string of a 
in the case of Wilkie. timid band, for fear of making a false touch. What is 

it ,, , ., . drawing? Every student in Germany will tell you, 

1 e ^ rman critic . has thus conveyed commonly, it is defining the forms of things correctly 
through Germany his opinions of British Art ; and by a line. This is the common definition ; but Raffaelle, 
has, no doabt, given surpassing pleasure to his and Titian, and Velasquez, and Murillo, and Vandyke, 
countrymen, by convincing them how much more and Reynolds, and Michael Angelo, would have told 
excellent are the boys of Dusseldorf then the men you philosophically it was the power of planting the 
of England ThU i« M leading points of the objects imitated in their right 

or nm gland. J his is a step backward in advance £ avin!r digtJlnr(? atm0fi nhere to unite the 


of fha?which T shm Id h^th baCk T d in advan , C6 n M leaving distant 
ot that which should be the grand purpose of all masterly abstraction, a 

writers concerning Art— to render it dnivrrsal. a line, which docs not < 
1 hey are only weak persons who cannot bear to be other objects behind, 
told of their faults; we should have thanked Dr. imitated; so that wher 
Henry Merz if he had kneaded up with his un- from sight its bounds, 
wholesome dough but a very little leaven. Either ^onthis immortal 
the motive of the Report was bad, or the ignorance of mor e drawing, more po< 
the writer is disgraceful to the journal that opened by Titian, Raffaelle in 
its columns to him. But to this gentleman we Velasquez, Rubens, Kei 
have nothing more to say : we shall, as soon as head by Ness or a Non 
we can do so, procure M. Kugler’s book concern- ®* ) j ect8 ’ but 

ing" English Art and Artists;” he is a more thougltsby 
worthy quarry ; upon Ait report our readers shall j?b4t comprehended t 
have our report. . _ that point of distance 

Uur business now is with our own critics. For perceived by tbe eye, a 
certain it is that tbe German the brain, to be a resen 

44 Hath found out convey the thought. 

A nest of hollow bosoms ** “ Atmosphere and dis 

! ‘ h d SP A la l 0 S h * s »»™<6 echoed his » d 
sentiments ; and no doubt, ere long, we shall have optical peculiarity, have 
the Athen<Bum following in its wake. Unhappily, touches on the leading ] 
both these journals, conducted though they are portiort, colour, light a 
with great ability, labour continually to depreciate Jectiou, and by them, cl 
the Arts of their country, and try to make them g 

thnnM IT 1 m * nl e 'I timation °f M , wh ° or the ch»^ter o? tho« 

should be their patrons, fhe former is stimulated, “ This masterly powe 
mainly, by its hatred of Academies ; and the latter of all tbe greatest pair 
by its profound admiration of foreign kick-shaws : world ever saw ; nnd il 
if a thing be German it must be good ; if a thing define all objects by a 
be English it must be bad. finln £ ob j ec j* h Y a } me 

: n Jr' e „ i S , P J Ctat0r C 0f M h ’ qUOt i n ? J fr ?“ °“ r i7^hey have’ not' fen ! 

journal the remarks of Dr. Merz, upholds his opi- closest imitation all th 
nions as “in the main just;” as containing 44 but the leading points, 
too much truth and justice.” The Spectator , “ Boys, therefore, bet 

however, has called Mr. Haydon into the field ; a ever y bo Y a!ways in 
powerful advocate at all times, and a very valuable * V atlon like the G< 

cnn«r h f".T T d,:r the ' nrta <’"“ monomania ; !Eio.« "s^ifJTJ 
concerning Academies and all that appertain unto | infected a human fancy. 


places, leaving distance nnd atmosphere to unite the 
masterly abstraction, and defining boundaries not by 
a line, which does not exist in nature, but by planting 
other objects behind, before, or by the side of the object 
imitated; so that where the object imitated vanishes 
from sight, its boundary may be defined by the next 
object to it. 

“On this immortal principle of imitation, there is 
more drawing, more power of comprehension, in a head 
by Titian, Raffaelle in his Hampton Court Cartoons, 
Velasquez, Rubens, Rembrandt, and Reynolds, than a 
head by Ness or a Nero by Cornelius, who are, in imi- 
tation of objects, but superior Denuera. 

“What is painting? It is the art of conveying 
thoughts by the imitation of things; which imitation 
is best comprehended by the brain through the eye at 
that point of distance where the whole object can be 
perceived by tbe eye, and therefore comprehended by 
the brain, to be a resemblance of tbe thing imitated to 
convey the thought. 

44 Atmosphere and distance unite distant points, flat- 
ten roughnesses, and soften asperities in any object ; 
and the greatest imitators in tbe art, knowing this 
optical peculiarity, have on philosophical principles, by 
touches on the leading points of objects, expressed pro- 
portion, colour, light and shadow, recession and pro- 
jection, and by them, character, form, and expression 
so completely for atmosphere to act on, that tne mird 
of the spectator is never deceived as to the object meant, 
or the character or thought expressed by tbe imitation. 

“This masterly power is the leading characteristic 
of all the greatest painters, Greeks and Italians, the 
world ever saw ; and it is acquired by first learning to 
define all objects by a line; for till the power of de- 
fining objects by a line be acquired, neither the brain, 
eye, or band, can plant the leading points of any object, 
if they have not been in the habit of defining by the 
closest imitation all the detailed parts which connect 
the leading points. 

44 Boys, therefore, berin by outline; and the art with 
every boy is always in its infancy; but for a whole 
great nation like tbe Germans to carey on the art of 
imitation, on tbe principle of A B C, is one of the most 
ridiculous as well as- mistaken principles that ever 


1842 .] 


THE ART-UNION. 


281 


44 Suppo o in the Art of oratory, a man of talent 
should coi plain It was hi a corrupt state, wonld the 
Art be im; roved or reformed by insisting that before 
an orator * 1 as allowed to sp ak, he should tell the letters 
of each vrc:\l, and spell euch syllable? Would not the 
audience reply— Correct, if you please, all corrupt 
redundancy of metupiior or hi*h colouring; express 
tine thoughts in simple language ; but do not bury your 
thoughts in useless detail. A BC is very well in the 
nursery to a child, but to tell us all the letters as a man, 
and to spell every word as you proceed in order to 
acquire simplicity, we shall lose the sense of your 
meaning in your copiousness of useless individualities. 
* Simplicity is a very suspicious virtue/ says Reynolds, 
4 when so very inartificial as to avoid the difficulties of 
the art . 4 And I, as an English artist, question very 
much the right of any other nation to speak of our Art 
with contempt, especially that one which rejects back- 
ground, light and shadow, appropriate colour, and 
execution, which are the means of imitation to convey 
thought, and believe themselves to be in the road to 
heaven by sticking copper surfaces on gilt surfaces, 
carpet-bag draperies on Turkey carpet grounds, with 
flowers, lilies, and daisies, which for truth of imitation 
may justly rival, though they do not excel, the beauty 
of a Persian rug. 

44 It is extraordinai^r the tendency of the Germans to 
•pend their great genius in labouring to prove a wrong 
principle a right one, instead of proving a right prin- 
ciple a sound one ; and the most siugular weakness in 
an heroic nation like the British, is their inherent 
cowardice in all matters of genius in Art. Undaunted 
as Britons are, and ever have been, in asserting abroad 
and at home their rights whenever attacked, yet let 
but some impudent foreigner deny their ability in music 
and painting, they cow under the imputation like a 
frightened spaniel. 

44 In this gross assault on English Art is there no 
lurking selfishness? It is well known, at present, there 
is great distress in the manufacturing districts of Fresco 
in Germany; and if Drs. Kuglerand Men can persuade 
the English, who travel at this time of year sixteen 
miles an hour to get a new sensation, that English 
rtists are unfit for a great work, they (the doctors) 
ope there will be a chance for their own gasping 
decorators. 

44 It would have been more philosophical in Dr. Kugler, 
to have shown his countrymen, how successfully the 
British power of imitation might be united with the 
correctness of German definition, and how more of 
German definition might be added to British powers of 
imitation— thus each school doing the other good— than 
presuming, in his corrupt and childish ignorance of 
what Art really is, to permit any correspondent to speak 
of us with mortified contempt. 

“One letter more, with your leave, on the danger 
of decorative Art, which is not founded on sound Art; 
and on the superiority of the French system to the Ger- 
man system m the education of decorators, who (the 
French) made the figure and sound Art the basis in their 
school ; and I retire.— I am, Sir, 

44 B. R. Haydon. 

44 P.S. With your leave, it is fair I should be allowed 
to say, I defy Dr. Merz or any other German, to prove 
one singe error in drawing in the 4 Mary Queen of 
Scots,’ the ‘Poictiers’ (now at the Pantheon, or the 
4 Lazarus,* on the staircase), or the 4 Xenophon,’ at the 
Russell Institution.” 


CORRESPONDENCE. 


CARTOONS AND FRESCOES. 

TO THE EDITOR OP THE ART-UNION. 

Sir, — I would (with all the respect due to the 
Royal Commission, and to those intrusted with its 
execution) submit to your better judgment, whe- 
ther the following passage in the Report does not 
appear to demand explanation, in order to render 
its object intelligible. The commissioners say, 
44 We have, in the first place, directed our attention 
to the question, whether fresco -painting should be 
employed in the decoration of the new Houses of 
Parliament ; but we have not yet been able to 
satisfy ourselves that the art of fresco -painting has 
hitherto been sufficiently cultivated in this country 
to justify us in at once recommending that it 
should be so employed. In order , however , to 
assist us in forming a judgment on this matter , 
we propose that artists should he invited to enter 
into a competition in cartoons.” 

Now, although it is sufficiently evident that cor- 
rect drawing, appropriate costume, and good com- 
position are essential to all Fine Art, in whatever 
manner executed, I think that in this instance the 
means employed do not appear to bear on appro- 
priate relation to the particular question of which 
the commissioners require a solution, which is 
simply, whether a peculiar kind of material for, and 
method of, painting, hitherto not much known in 
this country, should be employed in decorating the 
new Houses of Parliament ? It is, I think, quite 
clear that the production of mere designs on car- 
toon, and without colour, however excellent they 


may prove, will still leave the question , 44 with 
what material are they to be realized ?" that is, 
painted on the walls of the building, not merely 
unanswered, but absolutely unapproached. It ap- 
pears to me that a more likely means of 44 forming 
a judgment" on fresco-painting , and on the pro- 
bability of its being satisfactorily executed by the 
artists of this country, would have been to cause 
the production, not only of cartoons, but of paint- 
ings actually executed in fresco. An opportunity 
‘ would thus have been obtained of comparing fresco 
with oil-painting, as to general effect and accord- 
ance in tone with stone-*work and other architec- 
tural materials with which it is desirable that it 
should harmonize. 

With this view, Fresco pictures might safely be 
executed on portable frames of wood and lath, on 
a scale sufficiently large to test, at the same time, 
the abilities of the artist and the capabilities of the 
material. The question, of Oil or Fresco ? has, I 
think, been greatly perplexed by the admission of 
many irrelevant considerations into the discussion. 
That which is to be decided is not the question of 
the general superiority of one or the other method 
of painting, but simply, which is the best adapted 
to the purposes of Fine Art, employed as a means 
of architectural decoration ? There is ample proof, 
in the most celebrated works of Art, that all the 
requisites of the didactic style of Art are fully 
attainable by means of either class of materials. 
It becomes, therefore, chiefly important to ascer- 
tain which method affords the meaps of producing 
a coup d f ceil of best general effect in an interior, 
in which extensive polychromatic pictorial decora- 
tion is to be integrally combined with the other 
more essentially architectural enrichments, consist- 
ing chiefly of sculptured stone- work. 

It is advisable that this point should, as far as 
possible, be made the subject of experiment before 
the matter be finally decided ; for I feel assured 
that an important difference would be found to 
exist between the two materials. The peculiar 
quality of a fresco surface would be found to as- 
similate and harmonize with stone-work much 
better than oil-painting. The shadows of fresco- 
painting (the chief point in which it has been 
alleged to be inferior to oil,) would enter into a 
more effective union with the actual shadows of 
the architecture and of its decorative mouldings. 
We know that' in apartments lighted by windows 
it requires considerable tact and experience to find 
the point from which any particular picture becomes 
tolerably visible. Now, as Mr. Barry is not 
building a series of picture-galleries, it is more 
than probable that by far the greater number of 
the apartments in the building he has designed 
will not be lighted in such a manner as the 
nature of an oil-painted surface demands; it 
may consequently be anticipated, that should 
that material be extensively used, under such cir- 
cumstances, the result would eventually* be, in 
many instances, a coup d'oeil of unintelligible con- 
fusion. Under similar circumstances, as regards 
the admission of li$ht, in fact, whether in a sky- 
lighted or window-lighted apartment, a fresco sur- 
face of large extent, whether plain or curved, would 
present an agreeable general effect, and be distinctly 
visible at whatever angle the light might impinge 
upon it. 

With regard to the opposition of our leading 
artists to the system of competition, I think they 
are perfectly justified in acting as they may think 
tit. They owe their high standing, not to any gra- 
tuitous favour on the part of the public, but to 
their own superior talents and acquirements. The 
public has received its quid pro quo at their hands, 
and is not, 1 think, in any way entitled to call 
upon them to jeopardize their fair fame and hard- 
earned reputation by contending with each other 
for prizes, at the best a questionable and some- 
what invidious kind of procedure to propose for 
the adoption of men of established reputation for 
genius in the Fine Arts. 

It would seem that, in a case where the works 
to be executed are on a scale so extensive, as in 
the instance of the decorations of the new Houses of 
Parliament, there is ample room, not only for carry - 


* I say eventually, for although by using oil diluted 
with a large proportion of tui]pentine the picture might, 
at first , present a surface similar to that of fresco or 
distemper, they would, ere long, become dull in the 
lights and obscure in the shadows, so as to render a 
recourse to varnish, with all its distracting glare and 
glitter, inevitable. 


ing out the views of the commissioners with respect 
to competition— which may have a desirable effect 
in affording an opportunity of distinction and en- 
couragement to those men of talent whose abilities 
circumstances may have hitherto kept in com- 
parative obscurity— but also of securing all the 
available established and tried talent of the country 
to this first great public effort for the advancement 
of the Arts. Might it not with this view be ad- 
visable to follow' up the already -published proposals 
for competition, by offeriug commissions for 
designs to those artists whose nigh standing might 
entitle them to such a preference ? and to render 
these appointments as free as possible from the sem- 
blance of invidious personal partiality. I think 
the commissions should be limited to those whom 
the general voice of the public and the profession 
has promoted to 44 high places;" I mean to such 
members of the Royal Academy as are known to 
have cultivated the style of Art required by the pre- 
sent occasion. If it be objected, that some of the 
elder members of the profession may shrink from 
the task of acquiring a practical acquaintance with a 
new kind of material, the manipulations of which 
do not appear to be of the most agreeable nature, 
the practice of many of the German artists proves 
that it is by no means indispensable that a desigirfor 
fresco should be actually transferred to the wall by 
the hand of its author: it is sufficient to constitute 
it an original work, that it be carried out under his 
direction and superintendence. I should consider 
it highly requisite that the designs should not only 
be on a large scale, but carefully coloured witn 
fresco pigments in distemper, a method closely 
resembling fresco in tone aud general effect. I 
have been induced to venture these remarks, from 
a fear that a means of Art which has been highly 
appreciated and extensively practised by the great- 
est artists in the best eras of Art, and which ap- 
pears to possess qualities peculiarly suitable to 
the purposes now under consideration, should be 
dismissed with no further trial or investigation 
of its merits than such as this cartoon competi- 
tion can afford. Sir, yours, &c. 

J.H.M. 


THE ARTISTS’ FUND. 

Sir, — Allow me, through the medium of your 
guardian paper, to make a few cautionary remarks 
upon the declining state of the Artists* Benevolent 
Fund, since it seems to be regarded more from the 
sympathy it has created, than with any view to 
relieve it from its increasing difficulties ; and the 
more especially as the admitted cause of its failure 
(the increasing number of its members) happens 
to be that which is thought necessary should still 
exist. If it is deemed just, notwithstanding, that 
the society should continue unlimited in its num- 
bers, it will be the design to show that the attempt 
to do one duty at the expense of another may 
terminate in the sacrifice of both, and that the 
same cause operating in a different manner will 
eventually produce the same effects upon the joint- 
stock fund. That Art has experienced a great 
depression is implied from the very efforts making 
to restore it, and the society which undertakes for 
it will only be helping on the delusion so long as 
they look at the present condition of the funds, 
rather than the future condition of its members. 
Now, if you take into account that nearly one half 
of the society consists of engravers, the greater 
part of which in the most popular branch of the 
Art is almost without employment, and that the 
other departments are more intimately connected 
with it than it is comfortable to imagine, yo^may 
then anticipate all the disadvantages of an unmixed 
society, and find you must either stand or fall to- 
gether. It is here you will experience the fatal 
reversion of that convenient adage, 44 Number is 
strength/' without first considering there must be 
strength in numbers ; and bow possible it will be 
for the society, which set out with one emblem, to 
end with another, and that the old man and the bun- 
dle of sticks may be converted to one of straw, and 
prove no more at last than the embodying of want, 
or theassociated brethrenin ‘‘distress.” i our actu- 
ary assumes upon the stability of Art, and is right 
in his abstract calculations without taking your 
more serious ones into account. Some symptoms 
have appeared in the society which is feared will 
turn out to be the result of anything but accident ; 
and as to the tendency of allowing such things to 
take their natural course, you have but to notice 
them in succession, to find that want of employ- 


282 


THE ART-UNION. 


[Dec., 


ment will produce despondency, despondency will 
produce sickness, and sickness claims, as certainly 
as the necessary relation of cause and effect ; and 
all this without one single chance of the necessi- 
tous withdrawing from the funds, who would make 
any sacrifice to their subscription, rather than lose 
a life interest in a society which would experience 
anything but a dimunition of its members. What- 
ever may be urged in favour of the joint-stock 
fund, as having hitherto preserved the balance of 
its accounts, that may only arise from the early 
puyments and admission fees of young and untried 
members. In reference to the proposed limits, it 
should also be recollected, that it would be as un- 
wise to those who are within, as unjust to those 
who are without, to invite any more to take refuge 
in what should be the ark of safety ; instead of 
warning them of the danger of overcrowding the 
life-boat, at the peril of linking altogether. How- 
ever this seeming act of proscription may be looked 
upon as opposed to pledge or principle, let the 
sentiment be carried into the benevolent fund, and 
associate it with the last interest of a beloved wife 
in case of a probable event, and then imagine the 
small stipend to be reduced or withdrawn, which 
(little as it may be) would be just sufficient to stand 
between her and the last resource of wretchedness, 
or a state of ahject, or perhaps insulted, de- 
pendence ; and that consideration would surely 
decide the question. Every feeling at variance 
with selfishness seems to revolt at the thought; 
and it is believed that no one would enter the 
society (constituted as it is) without the paramount 
security promised to the benevolent branch of it, 
and which, if detached from it, leaves you at best 
with no more than the ordinary advantages of a 
common benefit club. As to the superinducing of 
subscriptions to meet your subsequent difficulties, 
let it be gratefully remembered that the patrons 
have acted nobly, and it would not be fair to expect 
of them more titan a continuance of the same 
favours; besides, it has its resemblance in individual 
calamity which a few lessons in private life ought 
to teach us. Great sympathy is at first created by 
the novelty as well as troin the circumstance df 
distress, which is weakened by every fresh appli- 
cation, till it either yields to some new claim, or the 
object and the impression go off together. You 
will perceive the sole intention of this is to relieve 
the fund from dependence upon contingencies, by 
the only apparent method, that of the restriction 
of its members : for, however broad and liberal the 
principles may have been upon which the society 
first set out, yet, like the human constitution, it 
will be found subject to influences it cannot con- 
trol, and to which it must either accommodate it- 
self or be in active operation against its own system. 
If anything could lessen the tone of confidence 
which has accompanied these remarks, it is the 
deference which is due to those active and praise- 
worthy members of the fund through whose excel- 
lent management and benevolent exertions it has 
arrived at its present importance ; and it is only (I 
assure you) my great fears for its continuance and 
my anxiety for its progress and prosperity, could 
induce me to solicit your aid in extent to give it 
all the publicity which the subject demands. 

Sir, yours, &c., 

A Fkif.nd to the Institution. 

[We, of course, consider the subject a fair and 
just one for comment; but shall willingly insert 
the answer it will probably call forth. The Insti- 
tution is one of very great importance ; and upon 
its judicious conduct depends the weltare of many.] 

EMPLOYMENT OF FOREIGN ARTISTS. 

Sir, — In your late publication the notification 
of the committee on the “ Decoration of the Houses 
1 of Parliament’' appears, granting an extension of 
time for the competitors to present the cartoons 
( required by a former resolution of the committee; 
i and also intimating, that foreigners who may have 
1 resided ten years in Britain are to be considered 
as coming under the denomination of British art- 
ists. I perceive that you are disposed to coincide 
! in the propriety of thi^ la>t resolution, so that it is 
not without reluctance, an l with the utmost de- 
ference, that I express a deeidcdly opposite opinion 
upon the subject. 

If foreigners are to be allowed to compete in the 
matter of the cartoons, common sense and com- 
mon fairness require that they should ultimately 
be pi rnnt t< il to compete for the decorations in 


their finished state ; and why a foreigner is to be 
considered a British artist because he may have 
resided ten years in Brtain, I own I am at a loss to 
understand. I grant that, if fair play be given to 
British artists by the committee, that they have 
little to apprehend from the competition of fo- 
reigners; but you, as well as myself, Sir, know 
rather too much of committees to feel at all assured 
that this is to be the case ; and I own that I am by 
no means satisfied that the mere sound of a foreign 
name, and the meretricious glare of foreign Art, 
may not weigh even with the committee in ques- 
tion in a manner most prejudicial to British Art 
and artists. By this resolution of the committee 
there is moreover a doubt implied, discouraging to 
Brtish artists at the very outset of the proceedings; 
and I should also beg leave to ask, if tne mere cir- 
cumstance of being by birth a Briton, does not 
entitle an artist, in a case like the present, to feel 
certain that he is insured against the chances of 
preference likely enough to be conceded (through 
the prejudice, or want of taste, which has become 
inherent in the majority of those persons generally 
named as committeemen in cases like the present) 
to foreign artists ? Besides, this is a great national 
work, which seems to strengthen the claim for its 
being confided to the hands of natives alone. In 
more private undertakings it would probably be 
illiberal and improper to debar foreign compe- 
tition ; but in the instances in question, it appears 
to me that British artists have a right to demand 
that the competition for the decoration of the 
Houses of Parliament be clearly and distinctly 
limited and confined to artists native-born sub- 
jects of Great Britain, or her colonies. Thus, we 
allow foreigners to establish themselves in trade in 
Britain, and to conduct private business ; but be- 
cause a foreigner has been ten years resident in 
Britain, he is not entitled to sit in Parliament, or 
to vote for members of Parliament ! 

Further, the very name of a foreign artist being 
permitted to go dow n to posterity as having exe- 
cuted this great work, or even a part of it, must 
have posthumously a prejudicial influence on Bri- 
tish artists, let the character of the works them- 
selves be what it may ; for in each case will it not 
be inferred, and most justly, that British artists 
were found inadequate to the task ; and will it not 
continue to be argued, as is at present done, by 
some of our own recreant and ignorant connois- 
seurs, that the natives of these realms are by na- 
ture denied the power of excelling in works of Art ? 
Such arguments were seized upon by the Glasgow 
committee, as the ground of their most unfair 
and unpatriotic proceedings in regard to the Wel- 
lington Statue : the changes were rung upon the 
superiority of Vandyke, and Kneller, and Lely, to 
British artists ; and the notorious facts forgotten 
or kept out of sight, that there were no British 
artists when those artists lived, whilst it might 
now with equal truth be maintained, that in com- 
parison with the British artists of the present day, 
there are no foreign artists deserving of the name. 

I could, without difficulty, cite the causes of the 
unworthy partiality in favour of foreign Art dis- 
played in Britain, not only amongst the bour- 
geoisie, but amongst persons of higher standing, 
and more enlightenment ; but I hope I have said 
enough to rouse the artists of Britain on this 
point, and to cause them to demand that this re- 
solution of the committee be rescinded; indeed, 
unless this be done, the artists of Britain owe it to 
themselves not to contribute a siugle sketch to the 
competition in question ! 

It is more than probable that the Houses of 
Parliament will not be in a state fit for painting 
within ten years of the present time ; so that, very 
probably, an importation of foreigners may take 
place in quite sufficient time to enable them to get 
selected for this our great national undertaking. 

Yours, &c., G. M. 

[We confess we consider our correspondent a 
needless alarmist. There can be no danger of 
foreign artists coming to settle among us, upon the 
chance of obtaining employment in decorating the 
new houses ; and there may be — we believe are — 
some artists, foreign born, who have lived in 
England almost since their birth, whom it would 
be unjust to exclude from competition. Indeed, 
the project of G. \I. would go to the exclusion of 
Mr. Leslie, who is an American by birth.] 

I 


THE CHINESE COLLECTION, HYDE 
PARK CORNER. 

We have visited this most interesting collection 
twice, and would have noticed it before were it 
mt that we waited for time and leisure to do it 
justice; and yet, upon looking over our memo- 
randa, we find that wc shall not be able to enter 
into its various merits a? fully as we intended. 
The collection has been made, not only at enormous 
expense, but with care and judgment ; and we have 
no hesitation in saying that a few hours spent in 
the magnificent apartment devoted to its exhibi- 
tion will give a better idea of the Chinese character, 
and the customs, habits, and occupations of th.s 
singular people, than all the volumes that have 
been written on the subject. Before entering into 
the details of the exhibition, we cannot avoid ob- 
serving upon two “ideas” that occurred to us during 
our progress through the collection — the barbaric 
rudeness of their musical instruments, and the 
awkwardness of their warlike weapons. Indeed, 
the expression of their countenances and the 
whole bearing of the people are exceedingly gentle 
and childlike, and during a very close inspection 
we saw nothing to induce us to change this opinion. 
We can faucy their turning, with determination, 
when injured or insulted ; but their physique is cer- 
tainly incapable of strong or sustained exertion, 
while there is a dogged positiveness in their down- 
cast eyes that leads to a belief that it would be 
very difficult to turn them from an old, or give 
them a new, idea. This strong national peculiarity 
has kept them from some evil and much good, at 
lettst in European estimation. Our late warfare 
has subdued them, yet certainly will not convince 
them, of our superiority in humanity or justice. 
But this is a question upon which we have no desire 
to enter, our business being with the exhibition 
itself, not only as so fully and beautifully illustrat- 
ing the character and habits of this people, but, of 
what is more important to our readers, its pic- 
torial display— not in the pictures made by the 
Chinese, but the setting forth of the Chinese 
themselves, their occupations, implements, and 
habits, both ; t home and abroad. To artists this 
exhibition is of exceeding value ; and some of our 
friends, while laughing at Chinese perspective, 
could not but acknowledge that they made admir- 
able ground-plans of their own faces upon the 
cups and saucers which decorate our cabinets. 
The grand features of the empire have been 
mapped out for some time, and the works of Lord 
Macartney, the Abbe du Halde, Lord Jocelyn, 
and others, have given their every-day habits and 
the appearance of things in general. The news- 
papers every now r and then give “ Letters from 
China,” which, for local, traditional, or personal 
information of the Chinese , might be WTitten off 
Cape Clear, or New Zealand ; their odd-sounding 
names are introduced, and a few observations 
touching the outline of the coasts and the progress 
of the war — and that is all. We are, therefore, 
deeply indebted to the gentleman who has Disced be- 
fore us, at so little trouble to ourselves, and at such a 
very moderate charge, a picture — all but living — 
of China and the Chinese. We wish particularly 
to invite consideration to the price of admission, 
which, while some complain of as too dear, we 
honestly consider too cheap. A collector’s noble 
fortune, the energy of a life — and the life of an 
intelligent as well as an industrious man — has been 
devoted to bringing into the heart of Europe an 
epitome of the Chinese Empire. He places in a 
focus all their objects of national interest — their 
idols, temples, pagodas, bridges ; their various 
arts and manufactures ; their tastes ; their whims ; 
their ieception-rooms ; their dresses; weapons of 
war ; their vessels ; the natural and artificial pro- 
ductions of their country ; their books ; their 
paintings : he groups their figures truthfully and 
artistically together. Y'ou enter the noble apart- 
ment — in which he has absolutely realized the 
Celestial Empire : you find yourself in the midst 
of this exclusive people ; you are invited to inspect 
their marts ; to take coffee in their drawing-rooms ; 
you may, if you please, weep with the widower 
who mourns in white : you may pore over manu- 
scripts with the literary gentleman; or tingle the 
guitar with ladies — oh \ rare advantage ! who could 
| never have been literary ; you may inspect the tails 
of the mandarins ; if given to seek a religion new 
! iQ^.qurself, you may make acquaintance with 
‘ “ tne three precious Buddhas ;” and then, if you 



1842 .] 


THE ART-UNION. 


28 a 


are not what we should be sorry to imagine, you 
will rejoice a hundred-fold in the great privilege of 
Christianity. This, and ten times more than we 
can particularize in our notice, can be enjoyed for — 
half-n-crown. It is indeed truly said, in the well- 
written introduction to the catalogue, that a single 
article illustrates whole pages of written description 
—the mind becomes enlightened through the eye. 
As a means of education, the object i» invaluable : 
it teaches by things rather than words, the Chinese 
Empire, with all its variety of light and shade ; its 
experience ; its religion ; its lanterns ; its oddities ; 
its aphorisms — those texts of wisdom from which 
might have been expected a richer fruitage ! the re- 
sult of its practical and theoretical religion and poli- 
cy — which has existed, unchanged, during a period 
of four thousand years — are concentrated, oy the 
zeal and ability of one man, in a pavilion close to 
Hyde Park : supplying an exhibition more amusing, 
interesting, and instructive than any we have ever 
had in the British Metropolis. 

It is singular enough, that to Mr. Catlin and 
Mr. Dunn — both natives of the United States— 
we are indebted for the most valuable assemblages 
of modern times : the one rescuing the memory 
and memorials of the Red Indians from oblivion ; 
the other portraying China as it was five years 
ago, but. most probably, as it will never be again — 
for the European has entered its sanctuaries, and, 
the privacy of the Chinese once violated, they must 
become more assimilated to us in all things. 


VARIETIES. 

The Royal Academy. — Thomas Creswick, 
Esq., Francis Grant, Esq., and John Hollins, 
Esq., have been elected associates of the Royal 
Academy. As usual, the selection of these three 
gentlemen from among the candidates has given 
rise to considerable discussion ; and, of course, 
there are, as there generally has been and will 
be, two opinions on the subject. In reference to 
Mr. Creswick and Mr. Grant, however, there can 
be but one feeling ; the former stands deservedly 
high in public esteem, and he has long been re- 
garded by his professional brethren with high re- 
spect; of Mr. Grant it would be scarcely too 
much to say that he is surpassed by no British 
painter of portraits, if indeed he be equalled by 
any artist in this particular branch. There w»ll 
be many who think the Academy should have 
co-operated with the Nation in giving impetus 
to Historical Art; and who consider that body 
to already number among its members a suffi- 
ciently just proportion of painters in a depart- 
ment of the Arts which is undoubtedly better re- 
warded than any other ; but, if a portrait- 
painter were to be elected, a worthier choice could 
not have been made. The observation, however, 
will not be thought to apply to the other por- 
trait-painter, Mr. Hollius, who was elected at 
the same time, and, we have no doubt, to his own 
utter astonishment; for we imagine he little 
expected to have had his claims preferred before 
artists whose rank is unquestionably much 
! higher. Mr. Hollins has indeed no pretensions 
j to occupy a prominent professional place ; in his 
| own more immediate path he is a far way behind 
j at least half a dozen competitors in the race; 

I some friendly hands have enabled him to reach 
' the goal before them ; but it will be a serious 
| question whether these friendly hands have not 
acted injudiciously as regards him, and preju- 
dicially as regards the Royal Academy. 

The Queen and hbr Childhen. — Mr. 
Edwin Landseer has just completed a portrait of 
her Majesty, the Princess Royal, and the Prince 
of Wales ; and it is about to be consigned to the 
hands of the engraver, by Messrs. Graves and 
Co., by whom the print is to be published. It is 
a very charming picture, and cannot fail of popu- 
larity, for it speaks to the heart of every English 
mother. The Queen is seen without state — apart 
from the forms and ceremonies of royalty, if not 
from the pomps and vanities of life ; there is 
nothing to denote the power ; nothing of the 
splendour by which she is usually attended ; she 
sits alone, with no “ peers” other than her chil- 
dren — no jewels but those which God has given 


her, and of which she looks prouder than of the 
sceptre that sways her kingdom. She. is, in fact, 
represented as an English lady, with a sou and 
daughter, fair and heulthy, and with the promise 
of long life, bravery, and virtue, strongly ex- 
pressed in countenances indicative of intelligence 
and goodness. There are thousands of English 
homes to which this simple guise will be infinitely 
more acceptable than the robes, “ Coronation” 
and “ Dalmatic” — who will prefer the mother 
in her nursery-chair to the Queen seated on her 
throne, and love her all the better as the happy 
companion of her offspring children than as head- 
ing a council of Ministers. Her Majesty is 
dressed in plain black velvet, ornamented with 
point lace ; the infant Prince rests in her lap on 
her left arm — a fine “ burly” boy as any we 
might find in the green lanes of Kent ; the Prin- 
cess is leaning on ** Mama's” shoulder, playing 
with a locket— a miniature of u Papa” — which 
she wears round her neck. The picture is a 
small one— about 18 inches high, and the 
same in breadth— for it is circular: the engra- 
ving will, therefore, be the same size, and will 
not have to undergo the process of reduction. 
It is, we believe, yet undetermined whether it will 
be engraved in line by Mr. Robert Graves, or in 
mezzotinto by Mr. Samuel Cousins : either will 
do it ample justice. Our readers will, perhaps, 
be, as we were, startled to learn, that for the 
copyright of this cabinet picture the painter 
has received from the publishers no less a sum 
than Jive hundred guineas . The value of the 
painting is, we imagine, one hundred guineas, or 
at most one hundred and fifty guineas ; for it is 
on a small scale, and is certainly not a work of 
time, thought, or labour. But, according to 
Hndibras — the couplet has grown into an 
adage,— 

“ What’s the worth of anything ? 

Just as much money as ’twill bring.” 

And we must assume that the publisher, who 
knows bis own business fully, and made the 
bargain with his eyes open, considers himself 
justified in giving, for the painter’s permission 
to make an engraving of the picture — about five 
l times the value which the painter placed upon 
the property in the work : in other words, the 
publisher believes (and no doubt he is right) 
that the speculation “ will pay.” The demand 
certainly does appear to us to he enormous; 
and we cannot lose sight of the fact, that 
this five hundred guineas will have to be paid, 
not by the publisher, but by the public ; for, of 
course, Mr. Graves, to cover this huge original 
outlay, must charge for the print double what he 
might have charged had the cost of copyright 
been somewhat witliiu rational, or we should say 
reasonable, bounds. * This principle— we cannot 
call it an unjust one, forit is admitted that a man 
may do what he likes with his own — works 
evil ; it throws the publishers into the hands of 
some one or two artists, whom they are com- 
pelled to force into a popularity that shall remu- 
nerate the publisher at any rate ; the conse- 
quence is that artists who have not been so fortu- 
nately circumstanced are excluded from the bene- 
fits which may be conferred upon them by the 
help of the engraver. The publisher makes a 
prodigious venture upon some one nr two “ great 
things ;” and competition is out of the question. 
This is surely not a wholesome state. 

* We ennnot avoid contrasting this fact with the 
conduct of De la Roche. When applied to, to engrave 
his noble portrait of ‘ Napoleon’ (by which the pub- 
lishers have realized a very large profit), he said, if it 
were engraved in mezzotinto he should require j£ 70; 
but if it were produced in line he should be content 
with 4^33. It teas engraved in line, and the sum of 
4T35 was paid to him. W T hat was the consequence? 
The print is published at the price of one guinea. It 
is one of the most exquisite examples of modern Art— 
the art of both painter and engraver; we believe above 
2000 copies of it have been sold in England, and a much 
larger number in Paris. Such could not have been the 
caae if the artist had expected to realize a small fortune 
by permitting a publisher to engrave hi* work ; the 
publisher would have doubled the price of the print, 
and comparatively few would have been enabled to ac- 
quire it. 


The Copies from the Old Masters have 
been exhibited at the British Institution, but 
among them there were few efforts of any promise; 
indeed, great names in this year's catalogue were 
rare ; and works were few that could benefit the 
student ; for the proverb about old Homer some- 
times nodding is not less applicable to him, than 
to every other great man since his time. That 
materiality and roundness with which Vandyke 
has endowed so many of his figures and heads, 
though not all, can only be approached by vete- 
ran experience; it could not, therefore, be ex- 
pected that a work by that master could be 
successfully imitated by those who are as yet 
but struggling to 9ubdue the mechanical diffi- 
culties of Art. We mention Vandyke because 
there was a picture by him in the Exhibition, 
which we were well assured would be se- 
lected for copying, by some who would be first 
moved by the prestige of the name, and then 
enraptured, not less by the defects than the merits 
of the work. The very antipodes of these qua- 
lities of Vandyke, Sir Joshua has exhibited in 
very many of his works, where, in striving for 
the u ripe peach,” he has forgotten roundness, 
in colour, and painted only brilliant masks. 
In painting, as in every-day life, the peculiar 
failings of some men sit upon them less objec- 
tionably than upon others, who have adopted 
them in their nakedness without the means of 
veiling them. We cannot, therefore, advocate 
copying any further than as mere mechanical 
practice ; for if a picture be beautiful in propor- 
tion to its approach to nature, were it not better, 
at once, to apply to this source than to accept 
the version of another man, whose peculiarities 
we can never imitate, and which, if we could, 
would not possess the grand merit of originality ? 
And as for the weaknesses of others, an artist 
ought first to dispose of his own before adding 
to his list : since those he would take upon him 
are sure to be more glaring than in his proto- 
type ; for it is scarcely less difficult to copy grace- 
fully the defects than effectively the beauties of 
a work of Art. With respect to the copies ex- 
hibited, we would say nothing in discouragement 
to those by whom they have been executed ; in- 
deed their practical earnestness is much to be 
praised, but we could wish that it were directed 
| into another channel. Those who have taken up 
the profession of Art will never arrive at any 
distinction unless their minds be furnished with 
ideas of their own ; and few thus qualified could 
employ themselves in copying. To the public 
exhibition of these copies there are many 
serious objections ; while there is no argument 
that can be urged in its defence. * 

The Imperial Academy op St. Peters- 
burg has elected as members three English 
artists— Mrs. Robertson (portrait painter), Mr. 
Raimbach and Mr. J. H. Robinson (engravers), 
and the diplomas have been recently delivered 
to them. To show, however, the mode in which 
such matters are expedited in Russia, it may be 
mentioned that Mr. Raimbach was elected twenty- 
five years ago, and Mr. J. H. Robinson seven 
years ago ; although the “ diplomas” have been 
only during the present month presented to these 
gentlemen. Nevertheless, they are members of 
a “ Royal Academy,” although it be but a Rus- 
sian one — an honour for which they are considered 
not to be “ qualified” in England ! 

Virtuosi Provident Fund. — We direct 
attention to an advertisement thus headed, in 
this number of the Art-Union. It has the 
guarantee of several well known and highly re- 
spected names for its respectability. It is singular, 
and not very creditable, that when men of all 
classes of “ trades” have their “ Provident Funds” 
— from those of the East India merchants down 
to the “ Licensed Victuallers,” — the dealers in 
the arts and in objects of virtu should have been 
so long without any. This reproach is now re- 
moved from them. They are composed chiefly 
of a class who, above all others, should be cared 
for under the pressure of poverty or sickness, for 


most of them are men of education, intelligence, 
and cultivated minds ; indeed, unless they pos- 
sessed such advantages to some extent, they 
would be unsuited to the business they pursue. 
We shall take some opportunity of referring to 
this subject at greater length. 

M. Hullmandkl has been honoured by the 
King of Prussia; his Majesty has transmitted to 
the lithographer the gold medal of the Fine Arts, 
in testimony of his approbation of the recent in- 
vention of litliotint. 

Sir Robert Peel has appointed one of the 
sons of John Martin, Esq., to an office under 
Government — a compliment to the painter and 
to the profession. 

The Boccius Light. — The cross roads op- 
posite Northumberland House in the Strand 
have been defaced by a huge and unmeaning 
mass of iron framed to bear a lamp. The light 
is remarkably pure and brilliant, but the lamp- 
post, if we may so call it, is one of the most un- 
gainly constructions of modem times — represent- 
ing nothing and meaning nothing. It is indeed 
as ugly and un-English as the name by which it 
is distinguished. Surely this is intolerable, when 
so many graceful designs for purposes of the 
kind were at the command of the 44 architect.” 
But Charing-cross and its vicinity appear des- 
tined to illustrate the bad taste of the nineteenth 
century. 

i »V BLaN d — The Committee of the Royal 
rfi: Art *Gnion have succeeded in securing the services 
of the eminent engraver, Mr. Richard Golding, for the 
charming subject by Maclise, ‘The Peep into Futurity, 
or an Irish Girl trying her Fortune/ Mr. Golding’s 
powers are so well known by those masterpeices, after 
bir Thos. Lawrence, ‘ The Princess Charlotte,’ and ‘ The 
Portrait of Sir Win Grant, late Master of the Rolls,* and 
Illustrations of Don Quixotte,’ after Smirke, &c., that 
we need only mention his name, and connoisseurs in 
engraving will be able to appreciate at once the value 
of the acquisition to this Society of his undivided exer- 
tions. It is also, in some measure, a most happy re- 
storation of an eminent engraver to the country. For 
Mr. Golding, being very independent, had ceased from 
pursuing his profession altogether, as far as publishers 
?£ re £ }nceru . ed L hi8 work of any size was the 
bt. Francis, after Paul Veronese, in the National 
Gallery, undertaken at the instance of the Society of 
P ,ease d were these competent 
Judges, that 100 guineas extra were awarded by them 
to tn»rk^in some measure, their opinion of the success 
Mr. Golding has neen induced chiefly 
by the beauty of the subject at present in question to 
undertake it, so that a first-rate work may be confi- 
dently looked for. Great credit is due to the commit- 
tee of management for their exertions and arrange- 
ments, by which this Society seems likely to keep the 
lead in this important branch. 

THE ART-UNION SOCIETIES. 

We find it a task of no ordinary difficulty to 
write upon this subject. The principle having 
become fashionable has, of course, like all other 
fashions, spread; and something like a mania, in 
reference to it, seems just now to exist in Great 
Britain. Still it is a wholesome and not an un- 
healthy fashion ; the 44 rage,” if it must be so 
called, is not for foolish, dissipated, or debilitating 
pleasures : its object is rational and intellectual ; 
and although some unnatural excitement may be 
mixed up with it, we have very little fear of its 
producing other than great and extensive good. 
A community will be always swayed by some 
overruling “ passion sometimes it will be licen- 
tious ; sometimes extravagant ; sometimes brutal ; 
and sometimes dangerous to the general and indi- 
vidual health. We are not far removed from the 
age when a pair of ruffians, going to beat each 
other in a ring, could draw crowds of followers, 
and have their “ doings” trumpeted in ncarlv 
every newspaper of the kingdom. We plight 
refer to a hundred customs, projects, or inventions 
upon which the world has gone mad for a time, 
from velocopedes and kaleidoscopes to railroad 
shares and joint-stock companies. If the fashion 
for Art-Unions be a mania, it is at least one that 
can lead to no present evil ; in no point of view 
can it be regarded us mischievous, much less per- 
nicious ; and it seems to U3, that those who augur 
danger from them for the future are very greatly 
mistaken. They will inevitably create an appe- 
tite for works of Art, and a desire that cannot but 
go on increasing ; and this effect will be produced 


THE ART-UNION. 

in places and among classes that could not be 
reached by ordinary modes, or be influenced by other 
than extra-ordinary proceedings. Take, for example, 
the town of Sheffield, and the broad province of 
Yorkshire. In that town, we know upon good au- 
thority, heretofore very few works of Art have been 
sold ; the London print-publishers have scarcely any 
“ accounts” there. An enterprising trader takes 
it into his head to adopt a plan by which he cir- 
culates two or three thousand fine engravings 
throughout the neighbourhood. This is not a 
matter of mere speculation. It has been done. 
Will any person contend that this is injurious to 
society, or that its working will be prejudicial to 
the Arts ? Can he lose sight of the truism that 
the acquisition of one luxury begets a longing for 
another ? Will he not reason that the possessor 
of one or two priuts desires to possess more ; 
and that so natural is the wish of men to go be- 
yond their neighbours, that those who have the 
means to purchase them will obtain paintings— 
which the less wealthy cannot acquire. It is easy 
to prophesy concerning things incapable of proof; 
yet we venture to assert that five years hence a 
larger number of prints and pictures will be sold 
in Sheffield in one year, than have been sold there 
since the year 1800. 

In this spirit we take up the case of the Na- 
tional Art-Union ; the announcement of which 
(in our columns last month) seems to have fright- 
ened some of our contemporaries out of their wits ; 
or we should, perhaps, say, into their wits; for the 
project has been met, not with serious considera- 
tion and argument, but with solemn jokes. Thus 
reasons the Spectator : — 

‘“All prizes and no blanks,* is the motto of these 
picture-lotteries : a print is to be given to each sub- 
scriber on payment of his subscription, just as you are 
presented with a playbill on taking a place at the 
theatre. Each individual print-collector in esse be- 
comes a * patron of Art* in posse: a turn of the wheel 
of fortune converts any dunce into a dilettante, with 
‘ the galleries before him where to choose, and ignor- 
rance his guide:’ who would refuse a guinea to pro- 
mote the Fiue Arts in so delightful a manner?” 

This plan of the 44 National Art-Union” is, no 
doubt, a private speculation ; its projectors having 
mainly in view their own individual interests ; as, 
indeed, is the case with every publisher of prints ; 
but, with both, their advantages must entirely de- 
pend upon the advantages they give to the public. 
If the public are benefited, it is neither unjust nor 
unreasonable that those who benefit them should 
receive an equivalent. The directors of this esta- 
blishment fully and fairly state that 4 ‘ the plan 
originates in private enterprise;” and they con- 
sider that it “ cannot be treated as an objection ; 
inasmuch as in this country such is the origin of 
nearly every great and prosperous national under- 
taking — which can benefit its projectors only by 
really benefiting the public.” 

This is in reality the only objection that has been 
as yet urged against the plan. We cannot attach 
any real value to it ; inasmuch as it would equally 
apply to the company who made the railroad 
that conveys us to Liverpool between sunrise 
and sunset— in fact, to all inventors of utilities. 
We have then chiefly to inquire will, or will not 
this project benefit the public and promote the 
welfare of British Art ? We have no hesitation in 
saying that it will— -if there be judgment, taste, and 
integrity in the parties to whom the conduct and 
superintendence of the affair be intrusted ; and as 
little do wc hesitate to assert, that if either of 
these qualifications be absent, it will be a failure, 
injurious to the Arts and ruinous to its projec- 
tors. They must select judiciously ; they must 
act uprightly ; they must be liberal in all their 
dealings ; they must, in short, satisfy the artists 
and the public, or they canuot even hope to pros- 
per. W e have from them a better guarantee than 
their resolutions and promises — the certainty that 
their success depends entirely on their well-doing. 
Their interests are deeply involved in the issue. 

Competition is as the lifeblood of the great 
heart of the world. One consequence arising out 
of this plan will inevitably be, that the existing 
Art-Unions must bestir themselves ; must obtain 
really fine engravings, and not such comparatively 
worthless things as they have given us heretofore ; 
must supply the promised prints with greater 
punctuality ; and must adopt some mode for pre- 
venting selections of inferior pictures. 

We must draw a marked line of distinction be- 
tween societies established wholly and solely for 


[Dec., 

the promotion of British Art, and those that have 
chiefly if not exclusively in view the personal ad- 
vantage of the projectors. It is impossible to ex- 
aggerate the merits of the gentlemen who, in 
forming and carrying on the London 44 Art- 
Union, have conducted it to its present 44 high 
and palmy state.” They have been actuated by 
the noblest motives ; they have laboured long and 
hard without any reward, or the hope of any re- 
ward, beyond the satisfaction they have felt in 
finding their efforts crowned with success ; — ex- 
cluding even the small recompence of patronage. 
They have done immense good, and will do more ; 
and it is undoubtedly they who have given existence 
to such Associations as that to which we at present 
more immediately refer ; for they have excited an 
appetite which is not easily satisfied ; and taught 
the public to demand better things than they have 
yet received. If they had not done this, indeed, 
they would have done little good ; for this was 
after all the great and leading purpose for which 
they combined. Witness this passage copied from 
the first printed Report of the 44 Art-Union” of 
London : — 

“ The promoter of the * Art-Union desire earnestly 
to tee similar Societies multiplied throughout the king- 
dom ; were this the case, a great increase of public at- 
tention to the importance of the Fine Arts, as a matter 
of national and universal concern, would necessarily 
follow ; and it cannot be too constantly remembered 
that before Art, in whatever path it manifest itself, 
can be duly honoured and its interests fairly pro- 
tected, it must be generally and justly esteemed; 
towards this estimation such associations may in 
many ways effectually contribute.” 
i In an advertisement, which appears in the columns 

of our journal of to-day, the Committee of the 
London Art Union 44 view with distrust” the as- 
sociations which are 44 speculations for individual 
benefit;” but this alarm nas been expressed before 
they could have seen the prospectus of the National 
Art-Union. It was published in the Spectator of 
Saturday ; and, no doubt, will also be transmitted 
to us for publication before we go topress ; although 
as yet we have not received it. To us this docu- 
ment appears fair, open, and just ; and of the prints 
to which it refers as ready for the subscribers, we 
can, of our own knowledge speak, as tine, beautiful, 
interesting and instructive examples of Art. The 
London Art-Union cannot believe that the ex- 
tensive circulation of such works can operate in- 
juriously upon the great cause they are banded to- 
gether to uphold. 

We have occupied much space in the treatment 
of this subject — space which we can this month ill 
spare ; yet we have left many points unreverted to, 
and many things untouched, upon which we ought 
to comment. 

Again we say, that if this plan of the 44 National 
Art-Union” be fully, fairly, and honestly carried 
out, it will succeed, and it ought to succeed. If 
there be the slighest departure from a jnst and up- 
right course, we shall be among the first to point 
it out. It will require a strict surveillance un- 
questionably, and, at least as far as we are con- 
cerned, it shall have it. 

The artists — and much for or against the project 
will rest with them — may most materially advance 
the power and welfare of their profession, by 
aiding to turn the current of public — fancy, 
fashion, or passion, whichever it may be — into a 
right channel. To familiarize the general mind 
to what is really excellent is the only way to pro- 
mote excellence extensively. As we have said, we 
take a favourable view of this new plan solely be- 
cause its projectors dare not aid in the circulation, 
and the consequent sustainment, of mediocrity. 
Whatever their motives be, the results can be only 
beneficial to the Arts, unless the parties interested 
desire failure instead of prosperity; inasmuch 
(we quote from the advertisement) 44 as the ma- 
nagers of the 4 National Art-Union’ will be com- 
pelled to choose only such works as are of acknow- 
ledged excellence : such only as are calculated to 
improve the general taste ; and such only as will 
be really worth the value placed upon them. Upon 
the just and effectual working out of this portion 
of their plan, they ground their expectations of 
success.” 

Our cry is, for 44 Art, cheap and good those 
who will supply it 44 cheap and good” have right 
^ calculate on our support.* A few years ago 

♦Just as we are going to preaa we hear of another 
project of a really astonishing character. Mr. Virtue 


1842. 


11 cheap and good literature” met with earnest 
and able advocates ; the people responded to the 
call that was made upon them ; and the conse- 
quence has been, that almost every cottage in 
England has its “ library.” A collection of the 
best works in the language may now be obtained 
by the weekly savings of a mechanic during a year. 

As surely as we write, a similar result will be 
obtained for Art. This “ National Art-Union” 
may be followed by others. We care not how 
many there may be — so that they give us 
44 Art cheap and good !” 


PRINTING IN OILS* 

THE INVENTION OP M. LEIPMANN. 

We subjoin a brief account of this invention, suf- 
ficient to give 41 an idea” of the mode of the execu- 
tion ; but for the minute details of the machinery 
and mechanical contrivances, and manner of mani- 
pulation, we must refer the reader to the book 
published by tbe inventor, which seems to con- 
tain all that can be communicated to facilitate the 
process without seeing it. It appears to us a very 
difficult one, requiring in its present form such 
extreme care, accuracy, labour, and time, that, 
unless it can be modified, it is not likely to be of 
very general application. Still means may be 
devised to lessen these in the execution ; and the 
principle has that simplicity which is so often 
the characteristic of really great inventions, and 
may be capable of various application. 

It is several years since a strong sensation was 
excited in the world of Art by the appearance at 
Berlin of certain copies of a portrait by Rem- 
brandt, marked in the catalogue of the Berlin 
Museum, 11, No. 335, 1ft. 9jin. (German) in 
height, by 1ft. 6in. in breadth. These copies 
resembled each other so perfectly that it was im- 
possible to doubt that they were produced by ma- 
chinery. The brilliant technical handling, the 
whole depth and power of the oil colours, and 
the strong impasto of the original, were all repeated 
in these copies. Conjecture grew weary in trying 
to discover what were the mechanical means em- 
ployed ; none known at the time were sufficient 
to produce such results. At the same time, the 
discoverer, Herr Leipmunn, the painter, of Berlin, 
gave it to be understood that he was not himself 
satisfied with the means he had employed to pro- 
duce the copies of the Rembrandt portrait, and 
that he had another quite different process in view. 

There appeared, accordingly, at the Berlin ex- 
hibition of 1841 a new work in oil printing, being 
a copy of a small picture by Mieris, 11, No. 320 of 
the Berlin collection, 4} inches in height, by 3j in 
breadth. 

As a picture, this new specimen had less merit 
than the copies of the Rembrandt portrait; but 
when the difficulties of the work were considered, 
arising from the small size of the original, the ex- 
treme delicacy of the blending of the tints, and the 
minuteness of the objects represented, it was, not- 
withstanding, acknowledged to be an advance in 
the art of oil printing. 

Various offers had been made to the artist to in- 
duce him to disclose his secret fora certain advan- 
tage to himself ; these offers were invariably de- 
clined, simply because he had not yet succeeded 
in bringing his discovery to the degree of excel- 
lence which he desired. 

But he had struggled with privations for many 
years in order to attain his great object, his health 
became impaired, and it was feared his secret 
would sink with him to the grave. At this time 
the Prussian Government came forward, and 
Herr Leipmann agreed to communicate his inven- 
tion to a person high in office. The judgment of 
this person was so favourable that a pension for 
life was immediately secured to Herr Leipmann, on 
the condition that he should make his discovery 
known to the public. 

Tbe result of this agreement was the publica- 
tion of a book describing, in the most minute and 

masters — “the best productions or the best 
schools.” Each engraving will be in line, in size 
about eight or ten inches by six, with accompanying 
letter-press; and these he designs to publish at 3s. each 
part, i.e ., one shilling for each print. He calculates, of 
course, upon a very large sale ; and such large sale will 
no doubt have been induced by the almost universal 
feeling that has been recently stirred up in this country 
in reference to Art. 

* invented and described by J. Leipmann. Berlin, 

1842 . 


THE ART-UNION. 


exact manner, everything regarding the invention, 
with directions for constructing the machinery 
necessary, &c. Ac. The persons to whom Herr 
Leipmann has himself explained the process, and 
shown the mechanical means he had at command, 
consider it almost miraculous that with such 
means such results could have been produced, and 
express the greatest admiration for the patience, 
labour, and ingenuity required on his part. They 
also consider that, when so much was effected by 
the imperfect machinery his limited means placed 
within his reach, much improvement may be 
looked for by the application of the best machinery, 
constructed with the care and nicety that is seen 
in the mechanical contrivances of the present day. 

Herr Leipmann was nearly led to his discovery 
by the observation, that the effects of colour pro- 
duced, by the most celebrated colourists, the 
painters of the Venetian and Flemish schools, did 
not depend on an uncertain and undecided mixtnre 
of tones; that in these great works the colours 
were not mixed on the canvas by the inspiration of 
the painter’s eye and wonder-working pencil, but 
were grounded on a deeply reflected and distinct 
arrangement of colour, by which the tones, whether 
transparent or in impasto, were brought out and 
blended together. It appeared, therefore, that by 
following this arrangement of colours and tones, 
and discovering means to give, according to the 
original, transparency or impasto to tbe picture, a 
perfectly similar work would be produced; but no 
machinery in use was adapted to these effects. 

Ruminating on his desired invention, his first 
plan was to place together long pieces of colour 
exactly imitating mosaic work, the extremity of 
the pieces of colour forming the surface of the pic- 
ture, and fixed in wax or soap, or some such ma- 
terial. He selected the colours and their most 
delicate varieties with the greatest care ; but on 
attempting to make the impression the result was 
not satisfactory, and he turned his mind to a dif- 
ferent mode of execution. This was to construct 
small tubes about an inch in length, and half an 
inch in breadth, having an opening in width of 
only half a line. These he filled with colour in 
rather a more fluid state than is usually adopted by 
painters. These were placed in an inclined po- 
sition, so that the colour might always find its 
way to the small opening, and that impressions 
might be repeated as long as any colour remained 
in the tube. The tubes were placed, according to 
the colour of the picture, side by side, till the whole 
surface, which was to give the impression of the 
picture, was filled. It may be observed that the 
greatest accuracy is required in selecting the 
colours and arranging the order in which they are 
placed : for this purpose a drawing must be made 
indicating the distinct place of every colour in the 
plate. 

A great difficulty here presented itself, namely, 
how to keep the colours in a fluid state within the 
tubes during the manipulation required to fill some 
thousands of these with colour. It was necessary 
to find an oil which should remain liquid during 
the operation, and yet dry uuickly when it was 
completed. These qualities Herr iieipmann found 
in oxfoot oil, or bone oil, such as is used for the 
finest machinery. The colour thu9 prepared must 
be received on a ground which imbibes the oil, 
and which has received on the opposite side a coat 
of bleached linseed varnish (leinolfernis), and it 
will dry completely. Being satisfied with the re- 
sult of experiments made on this plan, he pro- 
ceeded to make accordingly the impression of the 
Rembrandt portrait. 

Having first directed his attention to the pre- 
paration of the drawing, he took flat surfaces half 
an inch in thickness ; in these he made holes, and 
in these holes he fixed the tubes of colours, fasten- 
ing them at the back of the plates. On the front 
of the tubes was fixed a piece of thin tin, in which 
were openings cut corresponding perfectly to the 
drawing of the picture from which the colours 
were to issue. The impression was not given 
directly to the surface intended for the picture, 
but was first received on a sort of velvet stretched 
ou a frame ; from this the impression was taken, 
and the result was the fine blending of the colour 
seen in the Rembrandt portrait. As printground 
(druckgrund) for the picture, a thin paste was 
used. When the first impression was dry, the 
same means were used to give the glazings, but it 
will be understood easily that this was a much 
simpler process. To give the softer and harder 


285 


lines, and the complete form of the drawing, fine 
stripes of tin were used. The strong impasto was 
given, where required, directly from the tubes to 
the picture. 

The impressions of the Rembrandt portrait tes- 
tify the success of this experiment ; at the same 
time Herr Leipmann felt that for many pictures it 
was not adapted, and that the difficulties and in- 
conveniences of the process would prevent its ever 
becoming extensively used. 

His former idea of placing the colours in the 
manner of mosaic now recurred to him as sus- 
ceptible of improvement and adaptation to tbe de- 
sired end. The observation that a little oxfoot 
oil, mixed with very thick colour, rendered it 
sufficiently moist to give the impression to the 
velvet ; the velvet by receiving a coat of this oil 
might be made capable of taking the impression 
from drier colours ; and also that the mixture of 
some gluey substance with the colours to be used, 
might be employed to harden and make the mass 
fit for giving a sharp impression. 

After experiments with various gluey substances, 
he found white of eggs the best adapted ; and he 
applied it in greater or less proportion to the 
different colours, according to their peculiar dry- 
ness or moisture. 

In this manner, when the mass of colours was 
united, it was as hard as gypsum. When the 
surface of the mosaic was to be applied to give 
the impression, a coat of oil was given. An im- 
ortant point of the discovery must here be noted, 
t was desirable that every tone of colour, besides 
being true in tone, should also have its due force of 
impasto. To attain this object he mixed the colours 
with finely sifted sand — such sand as is used for 
moulds— and he found that it was not transferred 
to tbe picture, but remained in the mass. He 
therefore mixed sand with the colour according 
to the degree of impasto he wished to give. If he 
wished any part of the picture to be without co- 
lour he used sand only ; where he wished a strong 
impasto to appear he mixed no sand with the 
colour. 

After these experiments he considered that the 
great difficulties were overcome, and he proceeded 
to attempt another picture. The book gives a 
full account of the machinery used in this second 
process, and it is impossible here properly to de- 
scribe it; nor even the manipulation clearly. 
The copies of the Mieris portrait above men- 
tioned were produced by it. 

The first step, as before, was to make a drawing 
of the picture with the most perfect accuracy, and 
marked in a manner not only to indicate each tint, 
but also the degree of impasto belonging to each, 
to be exactly followed in the arrangement of the 
colours in the mass of mosaic. For this arrange- 
ment a peculiar machine is required. 

The result shows a representation on the destined 
ground of the picture with the softest blending of 
tints entirely opposite to the hard cut effect of mo- 
saic work. The proper form of the objects of the 
picture are produced by another machine, mostly 
of finely -rolled lead, which is carried into the mosaic 
mass of colour. The number of the impressions 
depends on the thickness of the mass of colour. 
It was two feet in length for the little Mieris pic- 
ture. 

The surface of the mosaic mass was covered with 
paper moisteued with oil : from this it was given 
directly to tbe picture for the printing ground, of 
which, as before, a thin paste was used. After 
every impression the mosaic mass must be smoothed 
to take away the adhering sand. 

The glazings were given by the same process 
when the impression was dry, onlv first received 
on leather stretched on a frame. Where stronger 
or softer lines were desired, a similar process was 
used : only the delicate lines were first received on 
thin leather, or some other material, the strong 
given directly. For the strong impasto lights the 
tubes with colour were used as in the former ex- 
periment. 

We here close our imperfect account, necessarily 
so, because, without seeing the machines, many 
steps in the process cannot be comprehended. Of 
what modifications it may be susceptible it is im- 
possible to say : at present we are inclined to think 
that tbe revolution in Art, which an easier process 
on the same principle may one day effect, is not 
yet'completed ; bat it is possible that nearer obser- 
vation may make the difficulties appear less. 


Digitized by Ar.OOQle 


286 


THE ART-UNION 


[Dec. 


REVIEWS. 

The Coronation of Her Most Gracious 
Majesty, Queen Victoria. Painted by Sir 
George Hayter. Engraved by H. T. Ryall. 
Publishers, Graves and Walmsley. 

This great print is at length before the public, or 
rather the early proofs have just been issued ; and, 
considering its magnitude and importance, and 
the immense number of portraits introduced into 
it, the wonder is not that it has been so long a 
time on hand, but that it has been completed 
within a reasonable period. It is, in truth, a 
national work — a grand record of the most im- 
portant and interesting event of the age and 
country ; and will be valued, not alone for its merits 
as a work of Art, but as a pictured representation 
of a memorable scene, and as a series of por- 
traitures of the worthies of the 19th century. 

In criticising it as a picture, due regard should 
be had to the difficulties which the artist had to 
overcome ; some of which no power of genius 
could have altogether surmounted. The incident 
was one that allowed no scope to fancy ; the 
faculty of invention was of no use to the painter ; 
he was compelled to be almost as literal a copyist 
as the engraver who was to follow him. West- 
minster Aobey could not be altered to meet his 
views ; nor could the actors and actresses in the 
magnificent drama be changed or displaced to suit 
his purpose; the whole scene must have been 
painted— and was painted — exactly as it occurred. 
These difficulties, however, are by no means all to 
be treated as disadvantages : th e place was a noble 
one, linked with glorious associations, and rich in 
actual architecture, as well as in memories of the 
past. The persons who met there on the memo- 
rable morning of “ The Coronation” were the 
aristocracy of Great Britain— a congregation of— 

“ Fair women and brave men,” 
headed by a young, bfeautiful, and most interest- 
ing maiden, who, scarcely more than upon the 
verue of womanhood, was about to assume the 
highest position in the realm— the proudest po- 
sition in the world. She was surrounded by the 
noblest and most distinguished of her subjects ; 
and among them were men of imperishable fame. 

To picture such a scene was a privilege ; and Sir 
George Hayter was fortunate that it fell to his lot. 
Perhaps it was fortunate for the public also ; for, 
all things considered, we doubt if there be any 
British artist who could more ably and satisfactorily 
have discharged the arduous task. Imagine seventy 
portraits — every one of them 44 taken from the 
life;” grouped precisely as they stood at the mo- 
ment selected from the impressive ceremony — 
each one habited as 41 upon the occasion — and, 
above all, let us bear in mind the severe test to 
which the painter must be inevitably subjected — 
for all this was known to thousands ; and every 
looker at the picture was a iudge as to the /ilrenM* 
of each individual pictured. Not to have failed, 
therefore, under such circumstances, would have 
been great merit; to have succeeded, is a great 
triumph. 

We have had other occasions for describing the 
picture ; and, inasmuch as it will be in a few weeks 
fully before the public, to go over the ground again 
would be superfluous. It coutainsaepenty portraits; 
and, without a single exception, they are good like- 
nesses of the parties introduced : this, in fact, con- 
stitutes the main value of the work; for all, or 
nearly all, are parts of British history. First is the 
Queen, seated in the chair of state, at the moment 
she has taken 44 the oath ” adminstered to her by 
the Archbishop of Canterbury, standing on the 
steps of the altar ; and her Peers are exclaiming 
with hearts in their voices, 44 God save the Queen.” 
On her right are august members of her family ; 
around her are the chief supporters of her 
throne ; and the several high personages who wit- 
nessed the ceremony, and those who were officially 
engaged on the occasion. 

Hereafter, this work will bean authority ; when 
the hi torian has dealt with each individual pre- 
sent. How largely will the value of this print be 
then enhanced : what would we not give for a like 
record of the coronation of Queen Elizabeth— to 
see gathered together the famous worthies of her 
Court, who made her reign glorious, and gave their 
own names to immortality. 

Sir George Hayter has been fortunate among 
painters ; and certainly neither the Queen nor the 


country have reason to regret that the task of 
perpetuating the memory of the most interesting 
and important event of the age was consigned to 
his hands. 

God grant that none of us who are not children 
may live to see an artist employed for a like pur- 
pose ! God grant that the reign of Queen Victo- 
ria may be as long as it promises to be happy 1 

It would be unjust to the engraver to dismiss 
this subject without ndmitting him to a large share 
of the honours it will obtain. It was an under- 
taking of vast labour and of very great responsi- 
bility — one that required ability, industry, and 
exceeding accuracy. And it has had them all. It 
will add to the already established reputation of 
Mr. Ryall. He has skilfully and very happily dis- 
tributed the lights, so as to bring out the more pro- 
minent parts of the picture; the countenance of 
each person of the assembled group has been 
wrought upon with due care to the importance of 
preserving the likeness ; yet the less essential por- 
tions of the work are made to harmonize with the 
leading features ; and the tone that pervades the 
whole is in admirable keeping.* 

Studies from Old English Mansions, &c. 
By C. J. Richardson, F.S.A., M.I.B.A. 

Published by T. Me Lean. 

It is not in a metropolis like ours, wherein everv 
year brings its notable changes, that we are to look 
for much that is venerable appertaining to the 
order of private dwellings ; but that the country 
is rich in interesting remains is sufficiently shown 
by the many works of which they form the subjects. 
They have had their not less quaint contemporaries 
in cities, but these have been long ago swept away 
by the tide of innovation. The sources, therefore, 
whence we look for these vestigia majorum are 
generally the ancient patrimonies in the country. 
There is a class of self-esteemed antiquarians who 
lavish their cares and admiration upon all that is 
old, without regard to quality of execution or de- 
sign. The publication, therefore, of such works as 
that before us, is desirable, for in them we find all 
that is beautiful, judiciously extracted from the 
cobwebs of several centuries, and they serve as 
hand-books to educate the taste of the aspirant, 
and assist him at need among such reliques as con- 
stitute their subject matter. 

The descriptions of the buildings and other ob- 
jects are arranged here in a novel manner upon the 
pages set apart for them ; being printed within a 
florid border of various designs, around which are 
arranged fragments of ornamental sculpture and 
carving, and pieces of ancient furniture, among 
which are a variety of chairs from Allington Castle 
and Abington Hall ; also a portion of the carved 
work of the staircase at Crewe Hall, remarkable 
for the chaste richness of its carving; and agar- 
den bench from Holland House, said by Horace 
Walpole to have been designed by Francis Cleyn, 
the same person, we believe, who, in the reign of 
Charles I., conducted the tapestry establishment 
at Mortlake. Among the larger subjects are 
Gorhambury House, Hertfordshire; Park Hall, 
near Oswestry ; the old Town-hall at Nantwich ; 
Montacute House, Somerset ; Burton Agnes, 
Yorkshire ; the Carved Parlour, Crewe Hall, 
Cheshire ; besides many other minor subjects in 
plate and ornamental furniture. 

Of Gorhambury House all that remains worthy 
of the attention of the architect is the small porch, 
which is in the Italian taste, although the other 

P ortions of the building seem to have been Gothic, 
t was built by Sir Nicholas Bacon, who, in the 
reign of Elizabeth, held for 20 years the office of 
Lord Keeper, who was succeeded in the possessor- 
ship by his son, the famous Lord Verulam. The 
plate exhibiting Park Hall affords the finest speci- 
men we have ever seen of the ancient manner of 
building houses of timbers with the intervals be- 
tween them filled up with mortar or some other 
substance. It is not known when Park Hall was 

* The newspapers inform us that Mr. Ryall has had 
the honour of an interview with the King of France at 
St. Cloud, for the purpose of presenting to his Majesty 
his last work, “ The Coronation of Queen Victoria,” of 
which he was most graciously pleased to express his un- 
qualitied admiration. On the following day Mr. Ryall 
received a most flattering letter from General Athalin, 
aide-de-camp to the King, expressive of his Majesty’s 
satisfaction at the beautiful engraving presented to 
him, accompanied by a gold box, of exquisite workman- 
ship, with his Majesty’s initials, surmounted with the 
crown of France. 


built, but it is supposed to have been prior to the 
reign of Elizabeth. The interior is of the same 
character as the exterior, the rooms being panelled 
and the fire-places richly ornamented. There are 
in various parts of the building Latin inscriptions, 
among which appears the golden rule — 44 Quod tibi 
fieri non vis alteri ne feceris.” At one end of the 
building stands a small chapel. There ure in differ- 
rent parts of England, houses constructed in the 
manner of Park Hall . in an ordinary way it is a 
rapid, and cheap, but superficial manner of build- 
ing, and has in earlier times been much practised 
in England ; houses are still erected in this way in 
some parts of France, particularly in Normandy, 
where there is much in the economy of every-day 
life that has not improved since the days of the 
Conqueror. This plate is followed by an interior 
— the Drawing-room at Park Hall — the ceiling of 
which, given in a separate drawing, is extremely 
beautiful. Montacute House was begun in 1580, 
and finished in 1601, for Sir Edward Phelips, in the 
possession of whose descendants it still remains. 
Montacute was remarkable for its hospitality, as 
alluded to by the following graceful distich over 
the entrance : — 

44 Through this wide opening gate 
None come too early, none return too late.” 

Burton Agnes contributes a view of the en- 
trance to the staircase from the great hall. In this 
plate is seen a curious chair, the seat and back of 
which is made of a bull’s hide. Burton Agnes lies 
between Hull and Scarborough, and is the property 
of Sir H. Boynton. 

The Carved Parlour, & c., at Crewe Hall is a rich 
and elaborate plate, executed with such nicety as 
to give the minute details of the abundant carving 
and moulding. From Crewe Hall there is also a 
screen of the period of James I. : it Beems to have 
been carved with extraordinary labour and con- 
stancy, the design in its ornamental parts involving 
the utmost complicity of detail. 

Other plates in the work exhibit various valuable 
and curious objects, as the marble Font in St. 
James’s Church, by Gibbons; the Nautilus Shell, 
from the Plate-room at Windsor, supposed by 
Flaxman to have been enriched by Benvenuto 
Cellini, &c. &c. 

The work is executed in lithography with much 
care and an admirable crispness in parts well 
suited to describe the material of the objects pic- 
tured. All the plates are tinted, and the shadows 
fall into their places with all the necessary flatness 
and evenness of tone. 

It is of great value to many classes — to the 
artist, the architect, and the antiquarian, more 
especially, and indeed to all who desire acquaint- 
ance with earlier English habits and character. 
Mr. Richardson has conferred an obligation upon 
liis country by producing a volume that cannot 
fail to gratify, interest and inform all persons who 
may be fortunate enough to possess a copy of it. 

Ancient and Modern Architecture. Edited 

by M. Jules Gailhabond. Firmin Didot 

and Co., Amen-corner. 

If the word of promise held to the ear by the title 
of this enterprise be not broken to the hope, it will 
prove a work of deep interest, and we may say 
almost endless labour— if we may lor a moment 
be allowed to sit down within the pyramid of 
Cheops, and look thence up a dark vista of thou- 
sands of years to the light of our own days. 44 An- 
cient and modern architecture” is a vast title ; 
however, to carry out its meaning in the matter to 
be arranged under it, we find the editor, assisted 
by a phalanx of collaborateurs , many of whom are 
already favourably known to the world. To convey 
a definite idea of the purposes of the undertaking, 
it is proposed to arange and describe the structures 
of the Romans in this order 1. Religious Archi- 
tecture, consisting of Temples ; 2. Civil Archi- 
tecture, consisting of Palaces, Houses, Basilica?, 
Fora, Columns, Triumphal Arches, Theatres, Cir- 
cuses, Amphitheatres, Naumachies, Baths, Bridges, 
Aqueducts and Tombs ; 3. Military Architecture, 
consisting of Walls, Gates, and Towers: whence 
we may infer, from the manner in which the descrip- 
tions iu this number are written, that the woik 
must contain a history of the civilization of the 
nations of whose edifices it may treat. From the 
earliest period to the middle ages its line of progress 
lies amid the wonderful edifices of the Egyptians 
and the mystic architecture of the Hindoos ; the 
remains of the ancient Persian dominion, and of 


Digitized by Cr.ooQie 


1842 .] 


THE ART-UNION. 


287 



the Pelasgic and Celtic tribes ; and then amid the 
classic beauties of the Greek and Roman reliques. 
The middle ages supply the second period wherein 
the Byzantine and early Italian styles present 
themselves for consideration, followed by the lux- 
urious taste of the Arabs. “ The oriental arch,” 
says the prospectus, “ thus introduced into the 
west, caused a general revolution ; and the archi- 
tecture of this period, modified and enriched, be- 
coming naturalized, produced those admirable 
monuments of Art which have been classed under 
the general appellation of Gothic — a class compre- 
( heading many of the noblest structures raised by 
j religious zeal. In the 15th century the Roman 
taste prevailed in Europe, which, blending with 
| the Gothic, produced a hybrid known as Italian 
i architecture; whence arose that style called in 
France the Renaissance. 

The first number of 11 Ancient and Modern 
Architecture” contains four steel plate engravings ; 
two of which represent the facade, and the plan 
and sections of a speos dedicated to Athor, and 
situated in Nubia. The two latter are the Kailasa 
atEllora, in the East Indies, together with its plan. 

Ebsamboul is famous among travellers on ac- 
count of its two temples sculptured out of the 
living rock. They are distinguished as the Great 
and Little Temples ; and the former has long been 
used as a place of refuge for the inhabitants of the 
neighbouring district in cases of attack from the 
Bedouins who infest the deserts on the north and 
west. On such occasions the inhabitants take with 
them into these sanctuaries their flocks and herds, 
and successfully repel any attack which the marau- 
ders may venture to make. The ornaments and 
sculptures of the interior are blackened by the 
smoke of fires which have been lighted within the 
sanctuary on these occasions. 

These temples are cut out of a mountain called 
Djebel Ebsamboul, and the smaller is on the 
bank of the Nile; but the larger is at some dis- 
tance. Belzoni was the first traveller who suc- 
ceeded in so far overcoming the scruples of the 
natives as to gain admission to the sanctuary ; this 
was in 1817 ; since which time Ebsamboul has been 
visited by Lord Prudhoe, Major Felix, and Sir G. 
Wilkinson. It is to the Little Temple that the 
plates refer, the sculpturing of which is decribed 
as having been commenced by cutting an inclined 
plane of the length of 88 feet, and of the height of 
39 feet : then, six deep and lofty niches were cut, 
leaving blocks for six colossal statues, which were 
| afterwards sculptured with a high finish into figures 
! of the usual Egyptian character. A pronaos 
! was then cut to the depth of 75 feet in the 
solid rnek ; anaos; a sanctuary; and, lastly, two 
| small chambers, one at each end of the naos or 
cella. The supports of the pronaos are large 
! square pillars resting on a socle, and crowned 
by a woman’s head, sculptured in relievo, 
as at Denderah and Thebes. The utmost 

width of the temple is 52 feet, in every part 
of it hieroglyphics abound ; oil the orna- 
ments, although smoked, are well preserved ; and 
the ceiling is painted blue, with a border of three 
1 colours. The front of the temple is ornamented 
j by six colossal figures, already alluded to, three of 
; which arc on each side of the entrance ; inclusive 
of the head-dress, these stand from 33 to 3G feet 
j high. With respect to the antiquity of this monu- 
ment, it cannot be considered anterior to Rhamses 
j the Great, as there is a series of painted sculptures 
I illustrative of military exploits during his reign. 

The Kailasa, represented in the other plates of 
' the number, is a monument dedicated to Siva, and 
i intended to represent the heavenly abode of this 
deity. It is considered one of the most perfect of 
the remains at Ellora ; and, although excavated and 
' carved from the solid rock, it has the appearance 
of having been erected stone by stone, and the 
more so, as being entirely detached from the 
mountain out of which it has been carved, and, as 
, consisting of a single mass of stone, is called 
monolithic. In the work before us it is thus de- 
scribed : “ The facade presents two projections on 
the right and left, and in the centre an entrance 
pavilion ornamented with pilasters, between which 
stand gigantic figures. The entrance pavilion is 
composed of five rooms, and surmounted by a 
story which opens on the area by a window with a 
balcony, undoubtedly intended as a place for the 
musicians on solemn festivals. The five rooms 
of this pavilion are disposed three in depth from 
the portal, and the two others laterally, both of 


which communicate with the upper story by a 
staircase. The three central apartments are de« 
corated with sculptures, to the length of 42 feet ; 
these serve as a passage, and lead to the inner 
court. From the two lateral rooms we proceed to 
the upper story, which brings us to a stone-bridge, 
20 feet by 18, having a parapet 3 feet 6 inches high. 
From this bridge we look down into the inner 
court on the right and left. By a flight of seven or 
nine steps we then enter the chapel of Nardi, the 
companion of the god Siva. This chapel forms a 
square, the side of which is 6 feet 3 inches long ; 
the sides are covered with sculptures, and the in- 
terior is lighted by two windows on the right and 
left, looking into the inner court. We leave the 
chapel by a door opposite the one by which we 
entered, and find another stone-bridge, 21 feet by 
23 ; and from this we have a view of the principal 
temple, the height of which, measured irom the 
floor of the inner court, is 90 feet.” 

This work will appear monthly, and it must be 
a useful and valuable serial if c re be taken to 
avoid the errors into which so many writers have 
fallen on the same subject. The style of engrav- 
ing is well adapted to architecture. 

Portrait of Sir Robert Perl. Painted by J. 
Deffett Francis. Engraved by Frederick 
Bromley. Publishers, Welsh and Gwynne. 
This is a good portrait — like, and pleasantly like, 
the distinguished statesman whom artists and 
lovers of the Arts are especially bound to honour; 
for, however varied may be the estimate that mere 
politicians form of his mind and character, at 
least it is certain that he is the only minister 
who has given serious thought to the advance- 
ment of the Arts of his country. A time will 
come — long may it be postponed — when this 
fact will be among the proudest recorded upon 
his tomb. The statesman is here represented 
standing beside the “ Table of the House ;’* 
addressing “ honourable members’* in his usually 
calm, collected, and impressive manner, and 
which forms so striking a contrast to his more 
fervent and energetic mood. The expression 
of the countenance has been happily caught; 
it is highly intellectual, yet sedate ; eloquent, yet 
unimpassioned ; and, as a likeness, it will be 
classed among the best of the many portraits by 
which the world is sought to be familiarized with 
his features. It is full length, and is drawn with 
considerable skill. The engraving too is by no 
means unworthy of the subject. Still the ex- 
quisite copy of Sir Robert by Sir Thomas Law- 
rence leaves all competitors far behind. We do 
indeed sadly want another great painter to picture 
great men— for posterity. 

The Slave Market, Constantinople. 
Painted by Sir Wm. Allan, R.A., P.R.S.A. 
Engraved by W. Giller. Publisher, F. G. 
Moon, London; and A. Hill, Edinburgh. 
This is a noble work of Art— a work of the highest 
class, of that class which unfortunately meets with 
far too little patronage among us. It is full of 
incident and character; containing a large num- 
ber of figures, all drawn w ith skill and grouped 
with judgment. The task was indeed an arduous 
one ; and one that could not have been undertaken 
bv an ordinary mind. In the foreground is a 
Turkish Emir, who has just concluded a bargain 
for a fair girl, designed for his son, a simple-look- 
ing youth, who rides at his elbow. The lover of 
the doomed maid has burst into the “ market- 
place ;” from which two slaves are forcibly ejecting 
him ; while the maiden looks a sad farewell ns she 
sinks upon the bosom of her mother. This is the 
leading episode of the picture ; but it abounds in 
“ stories;” every portion of it is indeed made to 
contribute to the whole. The treatment of so diffi- 
cult a subject has been such as to add largely to 
the already high reputation of£tJie accomplished 
painter. Mr. Giller has done it ample justice. 
Few productions of the pencil inculcate a lesson 
so powerfully, or with such marked effect. The 
print is a contribution to the cause of humanity. 

Sketches in the Holy Land, Syria, Idu- 
mea, Arabia, Egypt and Nubia. By 
David Roberts, R.A. Lithographed by 
Louis Haghe. With historical and descrip- 
tive notices by the Rev. George Croly, LL.D. 
Publisher, F. G. Moon. 

As we have had, and shall have, other opportuni- 


ties for '‘saying our own say** concerning this 
beautiful, interesting, and valuable work, we shall 
call to our aid a new reviewer — no less a personage 
than the Hon. Lord Cockburn, who, at the dinner 
recently given in Edinburgh to David Roberts, 
thus described it : — 

“ There was another land that lay in all its silence 
and desolation ; and seemed by the very impressiveness 
of its silence to demand the hand, and eye, and mind 
of an artist worthy to convey its treasures to the latest 
posterity. That rezion is connected with such associa- 
tions— is connected with so many solemn and interesting 
events, that, so far as we can at present presume, it 
would be impossible that equal interest should ever he 
imparted to any other portion of the globe. The archi 
tectural structures which time has yet spared are no 
doubt, in point of mere architecture, not to be com- 
pared with the more perfect productions of Greece or 
even of later ages ; but then the sites, but then the con- 
ditions, but then the antiquities, but then the histories 
connected with them— these things were worthy of Mr. 
Roberts ; and, if I may say so, it appears as if Mr. 
Roberts was born to delineate such scenes. To go into 
those countries required no inconsiderable perseverance 
and energy, and was not unattended with very con- 
siderable personal danger. But all that our friend has 
braved ; he explored the recesses of that patriarchal 
land, and returned to this country laden with the richest 
treasures, after having completed the finest pilgrimage 
of Art which perhaps ever was performed by a single 
man. The result has been marked by the most distinct 
and unanimous verdict that the public ever pronounced 
on a mere triumph of taste ; and no wonder that it has 
done so, because, in the first place, the scenes them- 
selves are connected with our earliest, our deepest, our 
most sacred associations; and, in the second place, 
they are presented to us with all the accompaniments 
of scenery and figures, which are not only delineated 
with the fidelity of the painter, but are touched off with 
the finest feelings of poetry.” 

This was well said and truly said. A work more 
worthy of universal praise has never been issued in 
this country ; and, perhaps, it is not too much to 
say that it never will be surpassed ; for rarely, in- 
deed, can there be so fortuitous a combination of 
circumstances to ensure excellence. These are suf- 
ficiently obvious ; among them marked reference 
should be made to the manner in w’hich the draw'- 
ings have been lithographed ; they are triumphs of 
the Art ; and alone justify England in challenging 
competition from any state of the Continent. Nor 
may we forget the powerful and eloquent written 
descriptions which accompany the prints. The 
brief notices of Dr. Croly are wonderfully con- 
densed— a volume of thought in a few pages. 
Add to these — many other facts that will occur to 
the reader, not the least of them having refer* 
ence to the enormous capital expended in the pro- 
duction by the enterprising publisher — and we may 
be considered justified in believing literally, 
notwithstanding the advances the Arts are daily 
making, that “ we shall not look upon its like 
again.” 

THE ANNUALS. 

The Book of Beauty. 

The Keepsake. 

The Picturesque Annual. 

The Friendship’s Offering. 

The Forget-Me Not. 

Fisher’s Drawing-Room Scrap-Book. 

Fisher’s Juvenile Scrap-Book. 

In their varieties of green and purple, and 
scarlet and gold — they come ! those winter- flowers 
of Literature and Art— most desirable acquisitions 
are they to all dinner- givers, who find them ad- 
mirable reliefs during the dull half-hour that 
precedes or follows the great business of a meeting. 
Most pleasant sights are they upon drawing-room 
tables, where they suggest topics for conversation ; 
most agreeable gifts to keep memory alive arc 
they, when friends may be far off ; most useful are 
they as associates of the pencil and the pen— as 
bringing the ‘‘fair sisters” into closer intimacy, 
and as enabling the one to secure a welcome for 
the other. 

First — place aux dames — comes The Book of 
Beauty, depending far less upon our courtesy 
than upon its own intrinsic merits. The frontis- 
piece is a befitting one : ‘ The Queen, with her 

Children;’ of no great value as a work of Art, 
but welcome as suggesting pleasurable sensations. 
Next, a portrait of ‘ Mrs. Kynastone,’ by Miss 
Fanny Corbeaux, exceedingly light and graceful. 
Next, the ‘ Hon. Mrs. Spalding,’ a proof of what 
A. E. Chalon can do, when he frees himself from 
those gossamer webs that ladies love to immorta- 
lize with their own sweet faces. This portrait is 




288 


THE ART-UtflON. 


[Dec., 


very near perfection : the attitude, so unstudied ; i 
the dress, so simple ; the bead, so full of woman’s i 
dearest and best expression— all harmonized in 
excellent feeling. The print is charmingly en- 
graved by H. Robinson. This, and Edwin Land- 
seer’s portrait of ‘ Miss Ellen Power,' are worth 
the price of a volume, which, without illustrations, 
would be still really valuable. The grace and 
purity of Lady Blessington’s taste is as conspicuous 
in the 44 Book of Beauty” as in all she has given to 
the literary world; and her contributors have 
done their devoir to second her designs. Sir Lyt- 
ton Bulwer is taking rapid strides towards the 
spirit world. His ‘Episode in Life” is marvellous 
enough to make our flesh creep ; and while he 
was busy with the 4 Mysteries of Life,’ Mr. 

D’ Israeli undertook to give the readers of the 
“ Book of Beauty” a lesson on the realities of 
geography, which he calls ‘ The Midland Ocean.’ 
Lady Blessington’s 4 Rail-roads and Steam -boats ’ 
is exceedingly amusing, imparting an air of mingled 
novelty ana reflection to every-day occurrences; 

— one of the most difficult achievements in lite- 
rature. 

Her ladyship’s two nieces contribute gracefully 
and with ability, to this favoured book ; and Barry 
Cornwall proves that his exquisite poetry and his 
quaintness are still united. The list of contri- 
butors contains the most distinguished names in 
English literature. 

The Keepsake, under the same skilful ma- 
nagement, although not so much to our fancy, as 
the “ Book of Beauty,*’ is nevertheless a beauti- 
ful drawing-room book, containing two of Cat- 
termole’s fine specimens of Interiors ; a speaking 
portrait by Sir William Ross ; a most lovely sub- 
ject, worthy of Gainsborough, by Poole ; a por- 
trait of Mrs. Fairlie, where the saddest expression 
is mingled with rare sweetness. The Literature 
has been supplied by nearly the same writers who 
figure in the 44 Book of Beauty.” 

The accomplished lady by whom these volumes 
are “ constructed” is peculiarly calculated for the 
performance of such a task. Her own fine taste 
and just appreciation of excellence are evident 
throughout ; and these are combined with a high 
moral tone that may produce profit as well as 
pleasure. Few have attained more general or 
better merited popularity. 

The American in Paris, or Heath’s 
Picturesque Annual, bv M. Jules Janin, 
illustrated by M. Eugene Lami, is the greatest 
novelty of the season ; for although en suite with 
the other volumes of this series, its character is 
most advantageously changed. Instead of often- 
repeated details of mountain, town, and river, we 
have vivid and animated sketches of France and 
the French ; and the illustrations are in perfect and 
admirable keeping, although, perhaps, the one or 
two in the 44 Keepsake” from the same hand may be 
out of place. The author and artist draw together ; 
and the letter- press is a brilliant panorama from 
first to last. Indeed, there are few works of 
modern times that will more amply repay perusal. 
The famous French author, Jules Janin, writing 
under the guise of an American, has written boldly 
and freely, and most eloquently. We have never 
read aught that so completely introduces us into 
Paris: it is worth all the ‘‘guide books” that 
have ever been penned ; but it has merit far beyond 
this — it is full of a fine philosophic spirit. The 
book is, indeed, taken altogether, by many de- 
grees the most important contribution to our 
literature that has been bestowed upon us by the 
annual tribe ; and Mr. Heath has conferred an 
obligation upon the public by tempting to its 
perusal by the addition of a series of admirable 
prints. 

‘‘The Friendsip’s Offering” has been, we 
believe, intrusted solely to the care of that very 
right-thinking and graceful writer Miss Camilla 
Toulmin, who has renewed the youth of one of 
our oldest friends. Her own contributions are not 
the least pleasing or powerful in a well- selected 
volume ; and there is the same evidence of gentle 
yet highly moral superintendence, as in the golden 
age of the book, when that earnest and faithful | 
Christian, Thomas Pringle, sanctified its pages by 
the purity of his own nature. The engravings are 
of little merit : we cannot find one among them 
that would justify praise. 

“ Hail’. Say we to the old ‘‘ Forget-Me- 
Not !” the father of the Annuals, and still edited 
by its projector, Mr. Shobert. Perhaps, after all, 


this little volume comes more home to our hearts 
than any member of its numerous family. We 
presented our copy to a young lady just married, 
who was born the year the first *‘ Forget-Me-Not” 
was published ! Yet it has come forth as gaily as 
ever — a pretty book — containing some very good 
literary matter, and illustrations, which do no dis- 
credit to their parentage, if they be not of a noble 
race. 

Fisher’s Drawing-room Scrap-book. — 
Poor L. E. L. !— This volume brings her before 
us— how she used to fuss and torment herself, 
and turn over and over, as she received them, Mr. 
Fisher’s multitudinous prints— complain of the 
difficulty of illustrating them ; and then, by the 
power of her active ana vigorous mind, she would 
turn off her difficulties with a bright smile, and 
set with them, with as much rapidity as skill, 
the jewels of her rich imagination. Mary Howit 
edited the publication with considerable industry 
and talent, but of late, she has not been as popu- 
lar as we think she deserves —while Mrs. Ellis 
has grown greatly in the esteem of the more 
serious portion of readers. In the manage- 
ment of the present volume its new editor nas 
evinced much skill and care : the contents are 
varied and interesting, and do equal honour to her 
understanding and ner amiable and cultivated 
taste. In the 

Juvenile Scrap-book Mrs. Ellis has been 
less successful — as a child's annual, the mat- 
ter and diction is too advanced, and young 
persons, from the ages of 12 to 18, hardly need an 
annual. It is, however, a pretty $ift-book, but 
has no pretensions to utility. It is one of the 
most arduous efforts of a superior mind to write 
what will at once please and instruct a child. 

Considered merely as works of Art — excepting 
five or six prints in the “ Book of Beauty,” and 
two or three in “ The Keepsake,” which are much 
above the average value — the only work that calls 
for particular remark is that which contains the 
illustrations of M. Eugene Lami— ‘‘ The Ameri- 
can in Paris.” We have here 18 engravings, 
productions of the burins of our English engrav- 
ers. They are all remarkably full subjects ; and 
must have been produced at great cost ; a cost 
probably which the present comparatively limited 
circulation of an annual could not have warranted, 
but for the sale which may be safely calculated 
upon in France. In execution they are worthy of 
the high and palmy state of the genus to which 
they belong ; and confer great credit upon the 
abilities of Charles Rolls, Wallis, Stocks, Rad- 
cliffe, Allen, and others, as well as to the 
matured and universally-acknowledged taste and 
judgment of Mr. Charles Heath. As pictures, 
they are very valuable : they are marvellously life- 
like, full of spirit, point, and character — introduc- 
ing us into the very scenes they depict : enabling us 
absolutely to dance among the merry folk who 
throng the “ Fancy Ball;” join the solemn pro- 
cession that bears the bones of Napoleon to their 
“ new” grave ; become spectators of the magnifi- 
cent show at the Tuileries during the “ review;” 
be present at the soiree at the Duke of Orleans — 
alas ! there we can never really be — mingle with 
a” Parisian Family at Home;” enter the green- 
room of the opera ; grow devout in the fine old 
church, “ St. Etienne du Mont;” and even relish 
the manifold dishes in the interior of a “ re- 
staurant.” 

Again we thank Mr. Charles Heath for a valua- 
ble contribution to our imported Literature and Art. 


TO READERS AND CORRESPONDENTS. 

The Title-page and Table of Contents of the Fourth 
Volume of the “Art-Union,** which the present num- 
ber (for December) completes, will be given with the 
next number— for January, 1843. 

It will be desirable that subscribers, who wish to 
complete their volumes for the year, w ould procure such 
numbers ns may be deficient with the least possible 
delay. The earliest numbers — those for January, 
February, March, and April, 1842— are “ out of print ;’* 
the other monthly parts may be still obtained. 

We must entreat the indulgence of some correspond- 
ents, who will receive “ replies** next month. 


Just published, 21s. silk; India proofs, £2 12s. 6<L 
morocco, 

T HE KEEPSAKE for 1843 ; Illustrated by 
a Series ot beautifully engraved Plates of Histori- 
cal Subjects, Portraits, and Landscapes, executed 
under the superintendence of Mr. Charles Heath. 
Edited by the Countess or Blessington. 

Lo ndon : Longman, Brown, Green, and Longmans 

HEATH’S PICTURESQUE ANNUAL for 1843. 

Just published, 21s. silk ; India proofs, £2 12s. 6d. 
morocco, 

T HE AMERICAN in PARIS; being a 
Picture of Parisian Life, in the Court, the Saloon, 
and the Family Circle. By M. Jules Janin. With 
Eighteen Plates from the Designs of Eugene Lami. 

London : Longman, Brown, Green, and Longmans. 

Just published, 21s. silk ; India proofs, £2 12a. 6d. 
morocco, 

T HE BOOK of BEAUTY for 1843; a 
Series of Portraits of the Women of England the 
most distingushed for their Beauty and Rank, engraved 
under the superintendence of Mr. Charles Heath. 
Edited by the Countess or Blessinoton. 

London : Longman, Brown, Green, and Longmans. 

FREDERICK THE GREAT. 

Now ready, Port 1. to III., price Is., to be continued 
Monthly, 

T HE HISTORY OF FREDERICK THE 
GREAT, translated from the German of Kuolbr 
by Edward A. Moriarty, A.B., very neatly printed 
in super-royal octavo, and will be Illustrated by nearly 
Four Hundred spirited Enoravings, in the first 
style of German Art, by Adolph Menzkl. 

London: George Virtue, and sold by all Book- 
sellers. 

NEW WORK BY MR. CHARLES DICKENS. 

On the First of January, 1843, to be completed in 
Twenty Monthly Numbers, price One Shilling each, i 
the First Number of 

T HE LIFE AND ADVENTURES OF 
MARTIN CIIUZZLEWIT, his Relatives, 
Friends, and Enemies. Comprising all his Wills and 
his Ways: with an Historical Record of what he Did. 
and what he Didn’t : showing, moreover, Who inherited 
the Family Plate, Who come in for the Silver Spoons, 
and who for the Wooden Ladles. The whole forming a 
complete Kev to the House of Chuzzleuit. Edited by 
“ BOZ.” With Illustrations by “ I’HIZ.** 

London: Chapman and Hall, 18fi, Strand. 

BURNET’S ILLUSTRATED EDITION. 

Just published, in 4lo., price dr. 1 2s. in French boards, 
ana on Royal Paper, with Proof Impressions of the 
Plates, price £* 4s. half morocco, gilt tops, 

S IR JOSHUA REYNOLDS’ DISCOURSES, 

Delivered to the Students of the Royal Academy. 
Illustrated by Explanatory Notes and Plates, by John 
Burnet, F.K.S., Author of “ Hints cn Painting.** 

James Carpenter, Old Bond-street. 

Published in 4to. price £i 10s. in French boards; 
and on royal paper, 4to., with proof impressions of 
the Plates, and a Portrait of the Author, price £1 7a., 

A TREATISE ON PAINTING. In Four 
Parts. Illustrated by One Hundred and Thirty 
Etchings from celebrated Pictures of the Italian, Ve- 
netian, Flemish, Dutch, and English Schools; and 
Wood Cuts. By JOHN BURNET’, F.R.S. 

Tlie pans may be had separate. 

1. On the EDUCATION of the E\E. Second Edi- 
tion. Price jfcT 5s. 

2. On COMPOSITION. Fifth Edition. Price 15a. 
in boards. 

3. Ou LIGHT ami SHADE. Fifth Edition. Price 
18s. in boards. 

4. On COLOUR. Fourth Edition. Price £\ 11s. 6d. 
in boards. 

This work is particularly recommended to the Stu- 
dent in Art in the New Edition of the Encyclopedia 
Britannica— See the article “ Drawing.** 

James Carpenter, Old Bond-street. 

Preparing for publication, in one volume. Imperial 
Quarto, 

M emoirs of the life of john 

CONSTABLE, Esq., R.A., with Selections 
from his Cerrespondence and other Papers, and Notes 
of his Lectures on the History of Landscape Painting. 
By C. R. Leslie, R.A. Illustrated with the Foenty- 
two Mr’.-.etinto Engravings, by D. Lucas, from the 
Pictures of Mr. Constarlk, originally intended to form 
a work cut', tied “ English landscape.** 

As the number of Copies printed will be limited to 
one hundrH and fifty, the impressions of the En- 
gravings, which are on steel, will all be equal to proofs, 
and the price of the work, to Subscribers, will be Two 
Guineas and a Half in boards ; to Non-subscribers, 
Three Guineas. 

London : Names of Subscribers received by James 
Carpenter, Old Bond-street ; Paul and Dominic Coi- 
naglii, Pall-Mall Hast ; Mr. D. T. White, 28, Maddox- 
street, Hanover-square ; and Mr. Tiffin, 434, Strand; 
at whose Establishments Specimens of the Engraviugt 
may be seen. 


Digitized by 


,oogl 


1842 .] 


THE ART-UNION. 


This day is published, in one volume royal quarto, with 
Eighteen Engravings and several Woodcuts, hau<l- 
somely bound in cloth, price 15s., 

T HE NATURAL PRINCIPLES and ANA- 
LOGY of the HARMONY of FORM. By D. R. 
Hay, Decorative Painter to the Queen, Edinburgh; 
Honorary Fellow of the Royal Institute of the Archi- 
tects of Ireland, and Author of “ The Laws of Harmo- 
nious Colouring,” &e. 

Wherever the best taste differs from the worst, I 
am convinced that the understanding operates, and 
nothing else.”— Burke on the “Sublime and Beautiful.” 
William Blackwood & Sons, Edinburgh and London. 

Now readv, in Imperial Folio, sCA. 4s., 

S ketches of china and the chi. 

NESE. — A series of 33 large and beautifully-exe- 
cuted Drawings in tinted Lithography. By auuuste 
Borget. With Letter-press Descriptions. 

The Work contains Views of— 


Island of Hong Kong. 
Great Temple at Macao. 


General View of Macao. 
View of Hong Shang. 


Temple of Buddha, Canton. Chinese Fortress, Island of 


AqueductofBamboo,Hong | 
Kong. j 

The Factories, Canton. 1 


Namo. 

Chinese Passage Boat. 
Chinese Encampment, &c. 


Tilt & Bogue, Fleet-street; Goupil & Vibert, Paris. 
Just published by Ackermans and Co. 

T he forget me not for 1843 , 

elegantly and substantially bound in crimson 
morocco, price 12s. containing Engravings by Heath, 
Finden, Carter, Skelton, Perintn, Motte. Hollis and 
Motte; painted by E. and H. Corbould, Franklin, 
Farrier, Wright, Tillotson, Bury ; and the usual Com- 
positions in Prose and Versr*, by James Montgomery, 
Laraan Blanchard, J. F. Dalton, Eden Lowther, Charles 
Swain, Dr. Mackenzie, N. Michell, Leigh Cliffe, ltev. 
H. Thompson, Miss M. A. Browne, Mrs. Sigourney, 
Miss Gould, Mrs. Lee. Mrs. Ward, Mrs. Walker, Mrs. 
Abdy, Miss Scaife, &c. 

Ackermann and Co. hnve also just published, 

In roval8vo. t handsomely bound, 18s., 

AN EPITOME, HISTORICAL and STA- 
TISTICAL, DF.SCRIPTI VE of the ROYAL NAVAL 
SERVICE of ENGLAND. By E. Miles, with the 
assistance of Lieutenant Lawkord Miles, R.N. 
Embellished with eight highly tinished coloured Views 
cf Shipping, by W. Knell; besides fourteen coloured 
Illustrations of the Flags, Pendants, and Ensigns, ns 
worn by her Majesty’s ships and vessels iu commis- 
sion. 


S TUDIO, or COMMITTEE-ROOM, No. 13, 
BRUTON-STREET, BERKELEY-SQUARE.— 
To be LET, at &\2Q a year, on the Ground Floor, 
a large and lofty ROOM, and a Room adjoining, suita- 
ble for an Artist or a Committee-room, with an office 
for a Secretary. It has a distinct entrance from the 
vestibule, and is enclosed by mahogany folding-doors. 

Particulars and cards to be had of Mr. Cox, Surveyor, 
106, New Bond-street ; or on the Premises. 

ELEGANT CHRISTMAS PRESENT. 

T HE COMIC ALBUM, for EVERY TABLE, 
printed in royal 4to., on tinted papers, illustrated 
with 250 Engravings, and bound in novel and splendid 
arabesque pattern of colours and gold, price 12s. 

Contents Something about the Reader — War with 
China— Exhibition— A very black Romance — Income 
Tax — Reminiscences of the Opera and Ballet — New 
Tariff— Stretch of the Imagination— Touching the Toilet 
—Light Sovereigns— Behind the Scenes — Centrifugal 
Railway— India-Rubber Pavement — Modern Morning 
Conversation— Artificial Ice— Our Street, and numerous 
original Comic Songs, illustrated and set to Music — 
Comic Autographs — Patterns for Berlin Wool-work, 
and the Adventures of Robinson Crusoe, in humorous 
\e.*se, &c. &c. 

W. S. Orr and Co., Amen-corner, Paternoster- row. 

NEW WORK OF MESSRS. CHAMBERS. 

On Saturday, the 3rd of December, Messrs. Chambers 
will commence the publication of a work entitled 

C HAMBERS’S CYCLOPAEDIA OF 
ENGLISH LITERATURE, consisting of a Series 
of Specimens of Britisli Writers, iu Prose and Verse, 
connected by an Historical and Critical Narrative. 

The CYCLOPiEDIA OF ENGLISH LITERATURE 
is under the care of Mr. Robert Chambers, assisted by 
several gentlemen of suitable qualifications. It w ill be 
embellished with Wood Engravings of the heads of the 
principal authors, and objects connected with their 
history. 

The work will appear in weekly numbers, consisting 
of a single sheet in royal 8vo, double columns, uniform 
with the “ Information for the People,” and costing 
three halfpence , and in monthly parts at sevenpence. It 
will consist of not more than 100 numbers, forming two 
massive and handsome volumes. 

Published by W. and R. Chambers, Edinburgh ; W. 
S. Orr and Co., Amen Comer, Paternoster Row, London ; 
W. Curry, Junior, and Co, Dublin; and by all Booksellers 
intrusted with the sale of Messrs. Chambers’s Publica- 
tions. 


T O ARTISTS.— The present EXHIBITION 
of PAINTINGS*by BRITISH ARTISTS, at the 
ROYAL ADELAIDE GALLERY will terminate on 
the last day of February next, and the next Exhibi- 
tion will commence on the 1st diay of March, on which 
occasion Three Prizes of Twenty Guineas each— First, 
for the best Historical subject in Oil or Water-colour; 
secondly, for the best Landscape; and thirdly, for 
the best specimen of the Polite Domestic. No copies 
will be admitted. Pictures for Exhibition must be 
sent in on or before the 20th day of February. For 
further particulars inquire of Mr. T. F. Smith, Se- 
cretary. 

SPLENDID AND SUPERIOR GILT FRAMES. 

C HARLES M‘ LEAN, 78, Fleet-street 
(opposite The Dispatch Newspaper-office), 
respectfully informs the Public, Artists, and the Trade, 
that they can be supplied with PICTURE FRAMES, 
of the verybegt manufacture, at prices never hitherto 
attempted. 

A LARGE SHEET OF DRAWINGS, representing 
the exact patterns and prices of one hundred different 
sized frames, ornamented with designs, made ex- 
pressly for this Manufactory* may be had gratis, and 
sent free of postage to any part of the kingdom. The 
Trade supplied with Frames in the Compo. Fancy- 
wood Frames and Mouldings. Old Frames repaired 
and re-gilt. 

An extensive Stock kept seasoned for immediate 
delivery.— All goods taken back, not approved of in 
three months. 

HIMNEY GLASSES, PICTURE 
FRAMES. CHEVAL and TOILET GLASSFS, 
CONSOLE TABLES, WINDOW CORNICES, 
SC11EF.NS, and every department of CARVING and 
GILDING, of superior quality, supplied cheaper than 
by any other manufacturer, by P. GARBANATI, 
WORKING CARVER and GILDER, 19, ST. MAR- 
TIN’S COUR'P, St. Martin’s-lane.—P. G. manufactur- 
ing every article on the premises, is thereby euabled to 
ofter them at such low prices that he defies competition. 
An extensive assortment of Ornamented Gilt and Fancy 
Wood Picture Frames kept ready. Regilding in all its 
branches in a superior manner, at the lowest possible 
prices. Ladies and Gentlemen waited on with Draw- 
ings, and Estimates given free of charge. A list of the 
prices of Plate Glass, &c. sent, pre-paid, to any part of 
the Kingdom. A quantity of Picture Frames of every 
size, that have been some time on hand, at reduced 
prices. 


WEST-RIDING ART-UNION. 

EXHIBITION OF TIIE PAINTINGS NOW OPEN, AT MR. GILBERT’S REPOSITORY OF ARTS, FARGATE, 

SHEFFIELD. 


Mr. GILBERT tegs to announce that he has made arrangements for establish- 
ing an ART-UNION lor Sheffield and the West Riding. In embarking on an 
enterprise of so arduous a character, he ventures to solicit the support and co- 
operation of his Friends and the Public, confident that his plan offers advantages 
which are well worthy of their notice. 

In the first place, without wishing to say anything to the prejudice of the In- 
stitution iu London, the general scheme of which it is his intention to adopt, so far 
as circumstauces will admit, he would observe that those Subscribers to the West 
Hiding Art-Union who may happen to be Prizeholders, will be enabled to select 
Pictures without either having to incur the expense of a journey to London, or to 
delegate their choice to a Committee; who, however competent they may be to 
Judge of the merits of Pictures as Works of Art, canuot be expected to suit the par- 
ticular tastes of individuals for whom they may be commissioned to select, both as 
to style and subject, so exactly as the individuals themselves. Secondly, every 
Subscriber of One Guinea will, ia addition to ilie chadce of obtaining a Painting, 
receive an Engraving of such excellence, as will, it may be confidently asserted, 
very far surpass any of the Art-Union Plates winch have been hitherto issued. And 
thirdly, all the Subscribers will receive their Plates immediately on the payment 
of their respective Subscriptions, instead of having to wait for them eight or 
twelve months, as is the case in similar Institutions. To this important feature of 
his plau Mr. GILBERT begs to direct especial attention: it is one which cannot 
fail to give universal satisfaction, inasmuch as the Subscribers will be at once 
enabled to estimate the value of the work procured, which, to say the least, will 
be equivalent to the Guinea he subscribes ; and at a subsequent and not distant 
period, he will have, in addition, the chance of obtaining a Painting by some 
eminent British Artist, selected by himself \ to the value of from Five to several 
Hundred Pounds. 

With reference to the Paintings to be submitted for competition, Mr. Gil- 
bert begs to state that He has made arrangements for receiving an extensive col- 
lection by the most eminent Artists of the day, for exhibition and selection. The 
number and amount of the respective Prizes will, of course, depend upon the 
amount of the money subscribed; but it may be stated, that ten shillings of every 
subscription will form part of the fund to be allotted for the purchase of Pictures, 
the remainder being devoted to the purchase of Engravings, and the payment of 
necessary expenses. Mr. G. moreover, wishes it to be distinctly understood, that 


ALLAN, Sir W., P.R.S.A., and R.A. 
BROCK EDON, W., Esq. 
BRADLEY, W., Esq. 

BKNTLEV, C. J., Esq. 

COOPER, A., Esq., R.A. 

COOPER, T. S., Esq. 

CORBOULD, Ed., Esq. 
CRESWICK, T., Esq.. A. R.A. 
CHISHOLM. A., Esq. 

CALVERT, C., Esq. 

DAVIS, R. B., Esq. 


DAVIS, J. P.. Esq. 
GASTINKAU, H., Esq. 
GILBERT, J. F., Esq. 
HART, S. A., Esq., A.R.A. 
HULME, J. W., Esq. 
HERRING, J. F., Sen., Esq. 
HEPWORTH, J., Esq. 
HOFLAND, T. C. 
liOWSE, G., Esq. 

JOY, T. M., Esq. 

J UTSUM, H.j Esq. 


Prizeholders will not hnve particular Pictures allotted to them, but each one will 
be entitled to select for himself one Picture to the amount allotted to them upon the 
drawing. 

The drawing is intended to take place in the Music Hall, Sheffield, under 
the superintendence of a Committee to be elected for the purpose, on some day to 
be hereafter determined upon. Iu the mean while, fetr. G. begs to state that it will 
be his object to conduct the undertaking on such spirited, and wt the same time 
equitable and honourable principles, as will ensure for him the confidence and good 
opinion of all those who may favour him with their support. 

For every Guinea subscribed, parties subscribing will, in addition to their 
chance of obtaining a valuable Picture at the drawing, receive at their option a 
copy of Watt’s splendid line Engraving, after Leslie, R.A., of “ May Day iu the 
Reign of Queen Elizabeth,” or the Mezzotinto Engraving by Lucas, after Isabey, of 
“The Return to Port.” These Plates, it inay be asserted, without fear of contradic- 
tion, have never been surpassed in their respeclive styles by any that have yet been 
published. As the Plates will be delivered when the subscriptions are paid, Mr. G. 
would impress upon those parties intending to subscribe, the advantage of sending 
in their Names at as early a period as possible, in order to secure the beat impres- 
sions. In order to convey to the public some idea of the high character of the 
Engravings, Mr. G. may state that he has been honoured by receiving, in the course 
of a very short time, the Names of upwards of Two Hundred and Fifty Subscribers 
in London, many of whom are eminent for their taste and skill in connexion with 
the Fine Arts. Subscriptions ore received in London by Mr. Jas. Bohn, Bookseller, 
King William-street ; Megsrs. A. H. Baily and Co., Publishers, 83, Coruhill ; Mr. 
How, at the Office of the Art.Union, 132, Fleet-sireet ; Mr. Charlrs Bielk- 
pif.ld, 15, Wellington-street North, Strand, London ; Mr. Squire, 22, Lisle-street, 
London; Mr. Allen, Mercury Office, Nottingham ; Mr. Roberts, Courier Office, 
Chesterfield ; and Mr. Davis, New-street, Birmingham. 

Subscribers’ Names are received at Mr. GILBERT’S “REPOSITORY of the 
FINE ARTS,” in the New Public Buildings, Fargate, in which the Painting of 
‘ The Opening of the Sixth Seal’ has recently been exhibited, where the Exhibition 
is now open, and will remain until the time of drawing. 

Mr. G. begs to state, that he has already received Pictures for his West Riding 
Art- Union by the following eminent Artists. 


KENNEDY, W., Esq. 
KEARNEY, W., Esq. 
MULLER, W., Esq. 
MARTIN, JOHN, K.L. 
MARTIN, C., Esq. 
McIAN, R. R., Esq. 
McIAN, Mrs. 

MACLISE, D., Esq., R.A. 
PARKER, H. P., Esq. 
PYNE, J. B., Esq. 


POLLITT, J., Esq. 
ROBERTS, D., Esq., A. R.A. 
SALTER, W., Esq., M.A.F. 
SHAYKR, W., Esq. 
SAMMONS, J. C., Esq. 
STANFIELD, C., Esq., R.A. 
STKPHANOKF, F. Esq. 
TAYLOR, A. H., Esq. 
VICKERS, A., Esq. 

WARD, J., Esq., K.A. 


igitized by 



290 


[Dec 


THE ART-UNION. 


T O MINIATURE PAINTERS, &c.— W- 
WARRINER, 39, GREAT CASTLE-STREET, 
REGENT-STREET, Manufacturer of OR-MOLU 
FRAMES, MATS, MOROCCO CASKS, and GLASSES, 
of all Bizes, shapes, ami patterns. 

W. Warriner, having been established more than a 
quarter of a century, begs to return his sincere thanks 
to those Artists and others who have undeviatinrly 
patronised him j begs further to inform them that he has 
a variety of new patterns, which, for quality and price, 
defy all competition. A great variety of Mats, Cases, 
and Glasses always ready, or speedily made to order. 

The Trade, 'Merchants, ana Captains of Ships sup- 
plied on the most advantageous terms, and with the 
greatest punctuality. 

PICTURES AND ORNAMENTAL FURNITURE, 
No. 29, KENSINGTON-SQUARE. 

M R. FREDERICK GODWIN will SELL 

by AUCTION, on the Premises, as above, on 
WEDNESDAY the 14th of December, 1842, at 11 for 
12 o’clock (hy order of the Proprietor, going to the 
West Indies), a small but very choice collection of 
genuine PAINTINGS, selected during a lengthened 
residence upon the Continent, particularly a Murillo, a 
G. Douw ; four by.Watteuu, exquisitely painted ; and a 
very tine' Interior, by F. Halls. At the swine time, all 
the modern ORNAMENTAL FURNITURE through- 
out the bouse. 

May be viewed two days prior to the sale; and Cata- 
logues had on the premises; of J.C. Burford, Esq., 10, 
Kmg’s-bench-wnlk, Temple ; and at the otliccs of Mr. 
Godwin, Auctioner, &c.,3, ilalkiu 'lejrace, Belgrave- 
square, near the Pantechnicon. 

N.B. The LEASE of the HOUSE to be disposed of. 

O AK C A It V I N GS for H U RCH 
DECORATIONS, &c.— Me srs. BRAITH WAITE 
and CO., Proprietors of the patent method of CARV- 
ING in SOLID WOOD, beg leave to invite the No- 
bility, Clergy, and Architects, to view tluir Specimens 
of Oak Carvings, suitable to the Gothic Embellish- 
ments of Cathedrals and Churches, such as Stalls, 
Panelling, enriched Tracery, Chairs, Communion-rails, 
Tables, Altar-screens, Pulpits, Reading-desks, Lecterns, 
Stall-heads, Finials, Organ-screens, Gallery-fronts, &c., 
at one half the price usually charged. 

Estimates given, ami contracts entered into, for the 
entire titting-up, restoration, or repairs, of any Ca- 
thedral, Church, or Mansion. 

By their process a most important saving in expense 
and time* will be found in the fitting or repairs of 
Churches or Mansions, either in the Gothic or Eliza- 
bethan style, in any description of wood. It is equally 
applicable to Elizabethan or Gothic Furniture, such as 
Chairs, Book-cases, Cabinets, Tables, Picture frames, 
Coats of Arms, Mouldings, &:c., &cu— No. 5, HEN- 
11 1 ETTA-8 I’ K E ET , C( ) V E N T-G A R D I . \ . 

MI L LER’S S 1 UCA 
COLOUR S. 


The daily increasing patronage bestowed on these 
Colours by Artists of tno first eminence, while it is 
gratifying in the highest degree to the inventor, is, at 
the same time, an acknowledgment of the soundness of 
tho-e principles upon which they are manufactured. 
It will be suilicieut to repeat that, being composed of 
Mib-tanres identical or siimlnr to those used by the old 
nun tecs (the brilliancy of whose works, after the lapse 
of centuries, is an iucontestildc proof of the superiority 
of ancient colouring), the Si lieu Colours will ever 
ret'iin their freshness, transparency, and gem-like 
bi'tre uninjured by atmospheric influence and unim- 
paired by tune. 

Prepared for Oil and Water-Colour Painting of the 
under-mentioned tints, viz : 


Pale mill Deep Red. 
Eaie and Deep Blue. 
Pale and Deep Yellow. 
Pale and Deep Green. 
\\ iiite and Half Tint. 


Crimson and Olive. 
Pale and Deep Orange. 
Pale and Deep Purple. 
Pale and Deep Brown. 
Grey and Black. 


VAN EYCK’S GLASS MEDIUM. 

I OR OIL PAINTING. 

No. 1. For fir-R and s> rood painting. 

No. 2. For third panning. tir.iNhiiur, and glazing. 

Any of the above Media in iy be thinned, nrmtdiug 
to the tu-:te of the Painter, with Milter's Venetiuu Oil. 

MILLER'S GLASS MEDIUM. 

FOR WATER-COLOUR PAINTING- 

No. 1. For first colouring. 

No. 2. For second colouring, glaring, and finishing. 

Any of the above Media m iy be thoue-d, according 
to tin- taste of the Painter, wuii .Miller’s Proydor. 

T. M. In gs to oMl the atrniti.'Mi of Artists to his new 
I h awing Paper, made oi pure linen only, without under- 
going any chemical pi •>« » -s. 

MILLER'S PROYDOR. 

FOR SKETCHING AND PAINTJNG IN WATER 
n » LOURS. 

This liquid is intended to supply the place of water 
in the above Art. It causes the colours to amalga- 
mate and blend kindly with each other; remotes all 
fi.nns or gieasy jm tides fn>m the surface of Miniature 
Table?*?, Ivory, or Paper; and if, in the progress of the 
p. noting, it be fonml desirable to take out or alter any 
poi lion of the Picture, the application of this Liquid by 
itself will accompluh it without injury to the surface. 

Manufactory : 56, Long- acre, London. 


ARTISTS, PRINTSELLERS, AND OTHERS, 

Are respectfolly informed, that 

C. F. BIELEFELD 

Has formed 

A LARGE COLLECTION OF NEW AND ELEGANT 

DESIGNS FOR PICTURE FRAMES, 

IN THE 

IMPROVED PAPIER MACHE. 

The superiority of these Frames consists in their having all the effect of old carved work; many of the 
Patterns represent exactly the finest carvings of the 17th Century. The small Frames are far less liable to 
injury than pulley work, Papier Maclu 4 being a remarkably tough and hard substance, it never shrinks, and takes 
gildingvery freely; the Frames do not weigh one quarter the weight of others, and the Price is below that 
usualW charged. Many Specimens are now on View at C. F. BIELEFELD'S Papier Macht? Works, No. 15, 
WELLINGTON-STRKET NORTH, STRAND; where also Pattern-Books may lie had, price lfs., consisting 
of a variety of Patterns of Picture and Glass Frames, and Window Cornices, already executed, and on Sale. 

“ Picture Frames.— W e direct the especial attention of all persons interested in this subject to the frames 
for pictures manufactured by Mr. Bielefieid. They are of papier macin'*; and the advantages they possess over 
the ordinary composition frames ace so strong arid so numerous, that they must, inevitably, be brought into 
general use. First, they are cneaper ; being about two-thirds of the cost— much less, indeed, where the frame 
is of large size; next, they will not “chip” in carriage; and next, they are so much lighter in weight, as to sup- 
ply an important item in their favour to those who are in the habit of transmitting large pictures from one place 
to another. This remarkable “ lightness” is indeed desirable every where; for in many rooms, where the walls 
are thin or aged, it is impossible to hang large pictures in the usually ponderous frame*. To exhibitois in pro- 
vincial exhibit ions these are no ordinary recommendations. But we refer chiefly to tlie appearance of these 
frames, which interests the collector as well as the artist, and, indeed, nil persons who adorn their homes with 
pictures or prints, be they many or few. They look exceedingly attractive, and are in reality as much so as if 
they hod passed through the hands of the carver, and been produced at about ten times the expense. The gild- 
ing tells with very brilliant ellect ; and, no matter how elaborate the pattern may be, they have a clearness and 
sharpness that we have seldom, or never, seen obtained in composition. Now that so many frames will be re- 
quired for the prints about to be issued by the several Art-Union Societies, we conceive we may convey useful in- 
formation to thousands, by recommending them to examine these frames; the patterns are infinitely varied; 
some have been designed expressly to meet these particular purposes ; and their advantages are so obvious as to 
be at once appreciated by ail by wnoin they are seen.”-— A rt-Union. 


ASSOCIATION 

FOR THE 

PROMOTION OF THE FINE ARTS IN SCOTLAND. 

FOUNDED IN 1833. 


COMMITTEE OF MANAGEMENT FOR THE YEAR 1842-43. 


The Right Hon. the Earl of Stair. 

The Hnn. Lord Meadowbank. 

The Right Hnn. Sir George Warrender, Bart. 
Sir Gilbert Stirling, Bart. 

The Hon. and Rev. Grantham Yorke. 
Professor Wilson. 

Willium Murray, Esq., of Iienderland. 


Thos. Maitland, Esq., younger, of Duadrennan. 
Professor Traill. 

E. D. Sandfnrd. Esq. 

David Maclagan, Esq.. M.D. 

J.T. Gordon, Esq., Advocate. 

Arthur Forbes. Esq. 

Mark Napier, Esq., Advocate. 


J. A. Bell, Esq., Secretary and Treasurer. 

. Sir W. Forbes, J. Hunter and Co. Bankers. 

T ii f. object of this Association^ to advance the cause of Art In Scotland, by affording additional encourage- 
ment to its Professors, in the following way :— 

A Subscriber of ( )nk Guinea becomes a Member for one year, lias a chance of gaining a valuable Work of 
Art, and the certainty of receiving a valuable Engraving. 

An Annual General Meeting of Members is held in May, for the purpose of electing a Committee of Manage- 
ment, who are intrusted with power for one year, to purchase what may appear to them the most deserving Worka 
of Scottish Art annually exhibited. At this Meeting, likewise, the different Works purchased for the Association 
become by Lois, publicly drawn, the property of Individual Members. 

This Association, the first established in the United Kingdom for the encouragement of Art upon 
tlie.'-e principles, has increased in its Annual Fund from the sum of ^728, subscribed in the year 1834, to the sum 
of .r. b.V.ii i, subscribed in the year 1842. 

Last year the Works of Art purchased for the Association amounted to 147 in number, at a total expenditure 
of nearly ’.£4600. Besides this large sum, which in this form was distributed among Subscribers, a large amount 
wns reserved, with a view to meet the expenses incurred by the execution of a very talented Engraving, to Copies 
of which all Subscribers are entitled. 

At one of the recent Annual General Meetings of the Association, the Honourable Lord Jeffrey said— “That 
the great aim of the Members of this Society was to advance a taste for Art, and to extend the fame and 
honour of Artists; and he was happy to say that, to a great degree, they had accomplished both these objects, by 
diffusing a taste for Art among the Scottish Public, and by raising a higher standard of excellence among Artists 
themselve*.” 

Cordially agreeing in the sentiments expressed in the above quotation, the Committee take this opportunity 
of earnestly requesting the attention of all those who have not yet enrolled themselves as members of the As- 
sociation, to its great importance and usefulness as a Nntional Institution. The plan of uniting the efforts of 
individuals, by a small annual subscription from each, into one large fund for the benefit of all, has established 
in favour of Art a new and most valuable source of encouragement. 

Members for this year, 18i2-43, will be entitled to copies of a Line Engraving, now being executed by Mr. 
Willi \m Miller, after Mr, Robert S. Lauder’s characteristic and interesting Picture of* Italian Goatherds 
Entertaining a Brother of the Santissima Trinitn.’ Mr. Miller is already far and skilfully advanced with 
tin* plate, and as both the painter and engraver have acquired for themselves well merited professional dis- 
tinction, it is not to be doubted but that this Engraving, when completed, w ill prore a fine specimen of combined 

native talent. 

The members for last year, 1841-42, will very shortly receive copies of the Engmving executed by Mr. John 
Burnet, after Sir William Allan’s admirable Historical Picture of ‘ Heroism and Humanity, an Incident in the 
Life of Robert the Bruce.’ An impression from this plate may be seen on application to any of the Local 
Honorary Secretaries. 

Th»*se engravings w ill cost the Association a large sum ; and every copy will in itself be worth more than the 
usual Annual Subscription of One Guinea. 

It is confidently anticipated, that the various Works of Art to be purchased by the Committee will this year 
snrpn.-vs in merit and vulue those of any former year; and they will, as usual, be distributed by lot among the 
Members at the Annual G neral Meeting in May. 

Subscribers’ Names will continue to be received till April 1843. 

Upon application to the Secretary, «’9, York-place, Edinburgh, or to any of the Local Honorary 
Secretaries throughout the Country, reports and information may be obtained, and subscription paid. _ 

Edinburgh, Nov. 1842. 


I 


1848 .] 


L etters to an amateur, or young 

ARTIST, on PICTORIAL COLOUR and EFFECT, 
and the Means to be employed for their Production, 
&c. &c. By Robert Hendrik, Esq. 

“ These • Letters’ contain many excellent precept9, 
and would be found by the Amateur a valuable auxi- 
liary.”— Art-Union, July 1842. 

Published by Simpkm, Marshall, and Co., Sta- 
tioners’ Hall-court ; and sold by T. Miller, Artists* 
Colourman, 56, Long Acre; and Mr. Ackermann, Jun., 
191, Regent-street. Price 5s. 

OTICE.— SPLENDID STOCK of GLASS 
and PICTURE FRAMES, the most modern and 
elegant patterns ever offered to the public, may be had 
at J. RYAN’S extensive Manufactory, 13 and 14, 
LONG-ACKE, at prices that will defy competition. 
Console Tables, Girandoles, Brackets, Cornices, and 
every article connected with the trade; Fancy Wood 
Frames of every description, of a superior quality, in 
great variety. Frames joined in the gold iuthetirst 
style. A few fine Pictures for Sale. 

N otice.— patent relievo leather 

HANGINGS and CARTON-TOILE OFFICE, 
52, Regent- street, next to the County Fire Office.— The 
Nobilitv and Public are respectfully informed, that our 
Works 'of Art in the PATENT RELIEVO LKATHKRS, 
the CARTON-TOILE, &c., can henceforward only be 
obtained from the Firm of F. LEAKE and CO., 52, 
Regent-street, where an immense number of Designs 
are"Vonstantly on view and sale, and Patterns of the 
most beautiful descriptions for Hangings of Rooms, 
Cornices, Friezes, Arabesques, Panels, Caryatides, 
Foliage, Patteras, Busts, Mouldings, Book Covers, 
Album Covers, Screens, &c., &c., in every style of 
Decoration, and for every possible use to which orna- 
mental leathers can he applied, and at a considerable 
reduction in price. We beg to notice, that this Firm 
only will continue to receive monthly from us all new 
Patterns and Designs in our manufactures. 

L. COMETH and CO., 10, Hue Basse du Rempart, 
Paris— May 25, 1842. 

DIMES AND CO. (late WARING and DIMES), 
ARTISTS’ COLOUKMEN, 91, GREAT RUSSELL- 
STKEET, BLOOMSBURY. 

F DIMES begs to inform the Profession, 

• that the PARTNERSHIP subsisting between 
himself and Mr. George Waring has been DISSOLVED 
by mutual consent, and that in future the Business will 
be continued under the name of DIMES and CO. 

To those Gentlemen who have given their patronage 
to the late firm, he begs to return his grateful acknow- 
ledgments, trusting to have their continued support, 
assuring them that all the articles he manufactures and 
sells shall receive every attention to insure the best 
quality. Subjoined is enumerated a few Articles, to 
which attention is respectfully requested :— 

CANVASS WITH INDIA RUBBER GROUND.— 
The eligibility of this article having been thoroughly 
acknowledged, and it having received the patronage of 
the first artists in the kingdom, those gentlemen who 
desire that the labours of their pencils should be pre- 
served from the effects of time (too visible in some of 
the finest productions of the Art), this Canvass is par- 
ticularly recommended, as it is never subject to crack 
or peel, and the surface is very agreeable to paint on. 

RAND’S PATENT COLLAPSIBLE METALLIC 
TUBES FOR OIL COLOURS.— Mr. J. Rand, toe In- 
ventor and Patentee, and Manufacturer of the Collap- 
sible Metallic Tubes, having thrown them open to the 
trade, 1). and Co. beg to state that they can supply 
them filled with oil colours in any quantity ; also, tubes 
of Varnishes, M'Guelp, and Asphaltum. 

Zinc 'Tablets for Puinting in Oil.— The surfaces of 
these Tablets are well adapted for highly-fini.ihed paint- 
ings, and superior to panels or milled boards. 

Water-Colours in Cakes or Moist, filled in mahogany 
or japanned boxes for sketching. 

Whatman’s Drawing Paper, all sizes and thicknesses. 
J. 1). IE, ditto. 

Tinted or Academy Paper, in great variety of tints 
for chalk or pencil. 

Genuine Cumberland Lead Pencils, warranted of 
pure lead. 

Chalks and Crayons of all descriptions. 

French, Hog, and Sable Hair Brushes for Oil and 
Water-Colour Painting. 

Marble Slabs mounted, prepared for Miniature Paint- 
ing. . , 

Drawing Boards, Easels, T Squares, and every article 
for Architectural Draughtsmen. 

Drawings and Paintings lent to copy. 


THE ART-UNION. 


RAND’S PATENT 

METALLIC COLLAPSIBLE TUBES 
s FOR OIL COLOURS. 

J RAND, the Inventor, Patentee, and sole 
• Manufacturer of the above, during the time they 
were known to the profession solely under the name 
of “ Brown’s Patent,” has made arrangements with 
Messrs. Winsor and Newton, of 38, Rath bone-place, 
by which that firm are supplied by him with Tubes 
or the same description as those so long supplied by 
J. Rand to Mr. Brown.— August 1st, 1842. 

WINSOR and NEWTON, of 38, RATHBONE- 
PLACK, respectfully announce, that they have on sale 
Oil Colours in Rand’s Patent Collapsible Tubes, whole- 
sale, retail, and for exportation. 

THE PATENT EASEb. 

W INSOR and NEWTON respectfully in- 
form the Profession and the Public, that this 
admirably-constructed Easel, the invention of M. Bon- 
homme, of Paris, is manufactured by them with con- 
siderable improvements on the French model, and 
w ith the advantage of the best English workmanship. 

W. and N. are induced to submit this Easel to the 
Profession in England by the high encomiums and 
great patronage bestowed upon it in France, where the 
ingenious Inventor, not only obtained a prize for the 
merits of his Easel at the National Exposition of Manu- 
factures and Inventions, but also received from the 
Government a liberal reward for the assistance lie ren- 
dered to the Professors of Art. 

Though possessing the advantages of the largest 
Easels, Dy standing firmly and holding steadily paint- 
ings of a very large size, M. Bonhommb’s invention 
occupies no more space than the smallest of the Artists* 
Easels now in use, and certainly not so much as the 
greater number of them. 

The position and height of a painting may be ad- 
justed with the utmost facility by a novel arrangement, 
which permits even unusually large works to be, when 
placed on this Easel, as much under control as smaller 
ones. The painting can also be sloped or thrown for- 
ward to any angle most favourable for the view, and 
this forward inclination can be adjusted with ease and 
exactness. 

It presents a neat and even elegant appearance, and 
is peculiarly fitted as well for all purposes of exhibition 
as for the studio ; affording the utmost convenience for 
the advantageous display of large or small works. 
The connoisseur who desires to exhibit his gems of Art 
in a manner adapted to make the most favourable im- 
pression, obtains in the improvements here brought 
forward an auxiliary hitherto much required. 

The Easel to be seen at WINSOR and NEWTON’S, 
Artists’ Colourmen to Her Majesty and His Royal 
Highness Prince Albert, 38, Rattibone-pluce, London. 

PAINTING IN OIL. 

By her Majesty’s Royal Letters Patent, and under the 
patronage of the President and Members of the Royal 
Academy. 

B ROWN’S COLLAPSIBLE METALLIC 
TUBES, for COLOURS, OILS, VARNISH, MA- 
GYLP, ASPHALTUM, &c.— THOMAS BROWN begs 
to return, his sincere tiianks to his numerous Cus- 
tomers for the approbation they have so universally 
bestow'ed on his Tubes. To the Members of the Royal 
Academy in particular he wishes to express his great 
obligations— he, his father, and his predecessor, having 
been the favoured servants of the Royal Academy from 
• its formation, and having the honour to supply all the 
Presidents to the present time. 

These Tubes combine the advantages of cleanliness, 
convenience, economy, and portability in the highest 
degree ; any portion may be pressed out at a time, and 
the remainder will keep good for years, even in warm, 
climates. 

, Manufactured and Sold, wholesale and retail, by 
Thomas Brown, Colourman to Artists, and Manufac- 
r hirer of every Material for Painting in Oil and Wuter, 
163, HIGH IlOLBORN, .London. 

N.B.— The Trade are respectfully cautioned from 
[ dealing in any imitation of the above Tubes, as all 
venders are equally liable with the maker to the penal- 
ties of an infringement. 

The Genuine are made of Purified Tin, have the 
> words “ BROWN’S PATENT” on the Cap and Nozzle, 
and are warranted not to injure the most delicate 
colours. 


NOW READY, 

ROBERTS’S II O L Y 

Part YI. 


LAND; 


CONTAINING 

VIEWS IN PETRA. 

ARCH CROSSING THE RAVINE. I THE TIIEATRE. 

PETRA, EASTERN END OF THE VALLEY. ARCH 

TOMB OF AARON. J I RUINS OF A TRIUMPHAL ARCH. 

Prints £1 1 0— Coloured, and mounted in portfolio £2 2 0 

London : F. C. Moon, her Majesty’s Publisher, 20, Threadneedle-street. 


In One Vol., small 4to., tastefully bound, price 31s.6d., 

T he book of British ballads. 

Edited by S. C. Hall, F.S.A. This work consists 
of British Ballads taken from the collections of Percy, 
Evans, Ritson, Pinkerton, Scott, Motherwell, Jamieson, 
Buchan, Herd, and others, by whom they have been 
gathered with so much industry and rare; and, al60, 
from sources comparatively unexplored by the general 
reader. No attempt has hitherto been made to select, 
and arrange in a popular form, the best of these bal- 
lads from the several volumes in which they are scat- 
tei i d, and where they are mixed up with a mass of in- 
ferior or objectionable compositions. 

CHEVY CHASE; illustrated by J. Franklin; en- 
graved by Linton, Smith, Landells, Armstrong, &c. 

THE CHILDREN IN THE WOOD; illustrated by 
v J. R. Herbert, AJl.A. ; engraved by Green. 

FAIR ROSAMOND ; illustrated by Franklin ; engraved 
byT. Williams, Miss Williams, Walmsley, Evans, &c. 

THE DEMON LOVF.R; illustrated by J. Gilbert; en- 
graved by Folkard and Bastin. 

THE NUT-BROWN MAYD; illustrated by T. Cres- 
wick, W. B. Scott, &c. ; engraved by Williams, &c. 
KEMPION ; illustrated by W. B. Scott; engraved by 
Smith and Linton. 

THE CHILD OF ELLE; illustrated by J. Franklin; 
engraved by Williams. 

THE TWA BROTHERS; illustrated by W. P. Frith; 
engraved by Bastin. 

THE BLIND BEGGAR; illustrated by J. Gilbert ; en- 
graved by Vizetelly. 

ROBIN GOODFELLOW ; illustrated by R. Dadd ; 
engraved by Green. 

SIR PATRICK SPENS; illustrated by J. Franklin; 
engraved by Armstrong. 

GIL MORICE; illustrated by K. Meadows; engraved 
by Smith and Linton. 

SIR ALDINGAR; illlustrated by J. Gilbert; engraved 
by Gilks and Folkard. 

SIR LANCELOT DU LAKE; illustrated by E. Cor- 
bould ; engraved by Smith and Linton. 

KING ARTHUR’S DEATH ; illustrated by J. Frank- 
lin; engraved by Green, Nicholls, Williams, &c. 
THE HEIRE OFLINNE; illustrated by E. M. Ward ; 
engraved by Bastin. 

LORD SOU LIS; illustrated by R. Me Ian; engraved 
by Smith and Linton. 

LORD THOMAS AND FAIR ANNET ; illustrated by 
H. T Townsend ; engraved by Folkard, Branston, &c. 
FAUSE FOODRAGE ; illustrated by T. M. Joy ; en- 
graved by Miss Williams. 

GENEVIEVE; illustrated by J. Franklin ; engraved 
by Armstrong and Nicholls. 

FAIR MARGARET AND SWEET WILLIAM ; illus- 
trated by H. W arren ; engraved by Jackson. 

THE BIRTH OF ST. GEORGE; illustrated by W. B. 

Scott; engraved by Folkard, Vizetelly, and Armstrong. 
THE MERMAID; illustrated by J. Franklin; en- 
graved by Green, Nicholls, Branston, Walmsley, &c. 
LORD ULLIN’S DAUGHTER; illustrated by E. Cor- 
bould ; engraved by S. Williams and J. W\ Whimper. 
SIR AGILTHORN ; illustrated by Redgrave, A.R.A ; 
engraved by Walmsld^, Bastin, Branston, &c. 

JOHNIE OF BREADISLEE; illustrated by Sibson; 
engraved by Linton. 

THE DOWIE DENS OF YARROW; illustrated by 
t J. Franklin ; engraved by F. Branston and E. Evans. 

. Each ballad is preceded by two pegee, gh ing its his- 
tory. and SUPpl) fug such htUg Bu So Q Concerning it as 
» the Editor nee been < nebled to obtain. Into these 

E ages are introduced, generally, the aira to which the 
allads are sung ; ana any pictorial illuetrationa that 
may serve to explain the text. 

Each ballad is illustrated by one artist, nnd in every 
instance the design ka drawn by him On the wood; 
and the work thus exhibits examples of the genius ol 
a large proportion of the most accomplished artists oi 
Great Britain. 

The supremacy of our English engravers on wood it 
universally admitted: this important department o 
the Woi h baa been i ntrnated only to artists of acknow 
(edged skill ami eminences nnd the whole of the ilius 
(rations oft ballad have been confided, as far as pos 
sible, to one engraver. 

The aim of all parties engaged in the production o 
the Work has been to render it worthy or the Countr; 
and of the Arts. 

London : J. How, 132, Fleet-street. 


igitized by 


292 


THE ART-UNION. 


[Dec., 1849. 


Messrs. HENRY GRAVES and CO., Her Majesty’s Printscllers and Publishers, have the honour to announce that they are preparing for 
^ immediate publication the following 

SPLENDID WORKS OF ART, 

PAINTED BY EDWIN LANDSEER, ESQ., R.A., 

AND IN COURSE OF ENGRAVING BY THE MOST EMINENT BRITISH ENGRAVERS. 

THE QUEEN AND THE ROYAL CHILDREN. 

Painted by Edwin Landseer, Esq., R.A., for His Royal Highness Prince Albert, at Windsor Castle, and completed during the month of November, 1843. 
This Gem in Art will be engraved in a atyle corresponding with its great beauty, by Samuel Cousins, Esq., A.R.A. 

Price to Subscribers, only .... Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, £8 6s. 

A few Artists’ Proofs will be printed, price £8 8s., for which immediate application will be necessary. 

HER ROYAL HIGHNESS THE PRINCESS MARY OF CAMBRIDGE, 
WITH HER FAVOURITE NEWFOUNDLAND DOG. 

Engraving to range with Mr. Cousins’s beautiful plate of * The Sutherland Family.’ 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, £6 6s. 

HORSES DRINKING IN A COURT-YARD. 

Engraving in the most exquisite mauner by J. H. Watt, Esq., the size of his ‘ Highland Drovers,* from the original Picture in the possession of 

W. Marshall, Esq., of Leeds. 

Prints, £3 Ss. . . . Proofs, £6 Gs. . . . India Proofs, £10 10s. . . . Before Letters, £12 12s. 

THE DUKE OF BEAUFORT’S DOGS. 

Engraving by Thomas Landskkr, Esq., from the original Picture painted for his Grace the Duke of Beaufort, K.G. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, £8 6s. 

A LASSIE^ HERDING SHEEP. 

Engraving by John Burnet, Esq., as companion to the * Widowed Duck,’ from the original Picture, in the possession of W. Wells, Esq. 

Prints, £\ Is. . . . Proofs, £2 2s. . . . Before Letters, £3 3s. 

THE HAWK "AND THE FALCON. 

Engraving in Meizotinto by C. G. Lewis, as supporters to the plate of the ‘ Hawking Party,’ from the original Pictures in the possession of W. Wells, Esq. 

Prints, £\ Is. . . . Proofs, £2 2s. . . . Before Letters, £3 8s., each plate. 

MISS ELIZA PEEL, BATHING HER FAVORITE SPANIEL. 

To be produced in Mezzotinto by Samuel Cousins, Esq., from the beautiful Picture paiuted for the Right Hon. Sir Robert Peel, Bart. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, jfcG 6«. 

THE NAUGHTY BOY. 

Engraving in the finest line manner, by W. Finden, from the original in the possession of J. Sheephanks, Esq., as the companion to ( Little Red Riding Hood.’ 
Prints, 78. 6d. . . . Proofs, 15s. . . . India Proofs, £ 1 . Is. . . . Before Letters, £1 11s. 6d. . . . Artists’ Proofs, £2 2s. 


RECENTLY PUBLISHED. 

HIGHLAND DROVERS DEPARTING FOR THE SOUTH. 

Engraved in the line manner, by J. H. Watt, Esq., from the splendid Picture painted for J. Sheepshanks, Esq. 

Prints, £3 3s. . . . Proofs, £6 6s. . . . India Proofs, £10 IQs. . . . Before Letters, ^£12 12 s. 

T H E H I G’ II LAND WHISK E Y - S T I L L. 

Engraved in the fiuest line manner, by Robert Graves, Esq., A.R.A., from the Picture painted for his Grace the Duke of Wellington, K.G. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . India Proofs, before Letters, £6 6s. 

LADY EVELYN GOWER AND THE MARQUIS OF STAFFORD. 

Engraved in the most exquisite manner, by Samuel Cousins, Esq., A.R.A., from the interesting Picture painted for the Duke of Sutherland, K.G. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, £6 6s. 

THE LOVELY CHILDREN OF THE MARQUIS OF ABERCORN. 

Engraved in the finest style of art, by Samuel Cousins, A.R.A. 

Prints, £\ 11s. Cd. . . . Proofs, £3 3a. .. . Before Letters, £1 7s. 

THE HAWKING PART YIN THE OLDEN TIME. 

Engraved in Mezzotinto, by Charles G. Lewis, from the original Gallery Picture, painted for Samuel Cartwright, Esq. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, £6 6s. 

CHILDREN E E EDIN G RABBITS. 

Engraved in Mezzotinto, by Thomas Landseer, Esq., from the very attractive Picture painted for the Hon. Mrs. Bathurst. 

Prints, £2 2s. . . . Proofs, £4 4s. . . . Before Letters, jfcG Ge. 


THE W I D O \V. 

Engraved by John Burnkt, Esq., from the Picture in the possession of W. Gosling, Esq. 
Prints, £\ is. . . . Proofs, £2 2s. . . . Before Letter?, £3 3s. 


RAT CATCHING. 

Engraved by Thomas Landseer, Esq. 
Prints, 10s. Gd.^TYirat Prooft, fit. 


London Printed at the Office of Palmer and Clayton, 10, Crane Court, Fleet Street, and Published by Jeremiah How, 132, Fleet Street*— ‘December l|J84a_